inside – Interior Design Review: Issue 102

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Stepping into luxury

102

ISSUE #102 | CELEBRATING 21 YEARS OF REVIEWING INTERIOR DESIGN

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#102 | JULY-AUGUST 2018 AUD$15.95

July/August 2018

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CONTENTS

ISSUE 102

10- Editorial NEWS 16182228303236-

Contributors Read: 4 Books In Review: San Francisco Designer Showcase In Review: Giles Alexander: Turtles all the way down Dateline Designwall Bibelot: Mark Douglass

PEOPLE 3942above—BresicWhitney Rosebery by Chenchow Little. Image Ben Hosking

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Practice: Michael Gittings, Jonathan Ben-Tovim and Makiko Ryujin Profile: Adele Bates At Home: Kerry Phelan and Stephen Javens, K.P.D.O. Discourse: Extrapolating the brand

PROJECTS 596672788492-

Woods Bagot West Hotel Mim Design AAP residence Chenchow Little BresicWhitney Rosebery Shaun Lockyer Architects (SLa) Sorrel Street house Liminal Studio Freycinet Lodge Smart Design Studio Manly apartment

PRODUCTS

Insight: Hospitality Folio show 108- Spotlight: CULT 110- Spotlight: Artedomus 112- Spotlight: King Living 114- Objects: Rosina Di Maria 101-

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A solid piece of Elba is carved to create a cantilevered resting surface for objects. is is stone at its purest: simple, distinctive and statuesque. Cut to heights of 500mm or 720mm, each side table is available individually or as a complementary pair.

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E DITORIAL

Welcome to the third issue of inside for 2018. So much has been happening this year it has been challenging to keep up with events both here and overseas, but life is certainly not dull in the world of designers and architects.

Issue 102 is a testament to the extraordinary talent inherent to practitioners across Australia.

For your reading pleasure, we present a multitude of exciting projects that stretch the limits of fine design and encapsulate the word ‘comfort’ both practically and visually. Of course, luxury abounds with each project designed to optimally express site, client needs and end user.

In Sydney, Woods Bagot’s West Hotel (p59) is the embodiment of style, presenting inner city accommodation for an ever-demanding public, while in Tasmania the new five-star pavilions at Freycinet Lodge by Liminal Studio (p84) are a superb translational of design within a wilderness setting.

In Sydney, BresicWhitney’s new Rosebery office by Chenchow Little (p72) gorgeously tramples the boundaries of what a commercial interior should be, while Manly apartment champions Australian Modernism under the masterful and creative hand of William Smart (p92). In Melbourne, AAP residence by Mim Design (p66) is cool and sophisticated in timbre, with luxurious appointments of furniture and meticulous detailing of material, while in Brisbane, Sorrel Street house by Shaun Lockyer Architects (p78) is the distillation of fine design that combines contemporary and Heritage to perfection.

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Aside from the group of fabulous projects in this issue, we profile three up-and-coming product designers, Michael Gittings, Jonathan BenTovim and Makiko Ryujin and explore their collegiate practices (p39). We also discover the world of designer Adele Bates, who is a force to be reckoned with in the world of interiors (p42).

Travelling to San Francisco, we visit the San Francisco Designer Showcase (p22), an annual event on the US design calendar that is unique every way and, in Sydney, we review Giles Alexander’s latest exhibition Turtles all the way down (p28) where beautiful planets and fine technique deliver perfection. Continuing our series At Home, we step inside the very private world of Kerry Phelan and Stephen Javens (p46) and, in Bibelot, Mark Douglass’ mouth blown glass light fittings come under our gaze (p36).

With summer but a distant memory and winter now upon us we invite you to settle back and enjoy some quiet time (preferably in front of the fire) where you can warm both body and mind reading inside.

Jan and Gillian

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ASSOCIATE PUBLISHER

DESIGN

Lachlan Oakley

Editorial Design Hannah Lawless

lachlan.oakley@niche.com.au

+61 3 9948 4952 PRODUCTION EDITORIAL

Co-Editors Jan Henderson jan.henderson@niche.com.au

+61 412 198 156 Gillian Serisier

Production Manager Alicia Pinock Production Coordinator Joel Sampson Design & Digital Pre-Press Karl Dyer

gillian.serisier@niche.com.au

+61 416 025 195 Sub-Editor Madeleine Swain

cover — West Hotel by Woods Bagot.

Image Felix Forest

Printing Southern Colour PUBLISHING

Correspondents Queensland Michelle Bailey Asia-Pacific Sarah Hetherington North America David Sokol Europe Joy Weideman

Chairman Nicholas Dower

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Financial Controller Sonia Jurista

National Advertising Manager Shaaron Martin

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NICHE MEDIA PRIVACY POLICY This issue of inside Interior Design Review may contain offers, competitions, surveys, subscription offers and premiums that, if you choose to participate, require you to provide information about yourself. if you provide information about yourself to Niche Media, Niche Media will use the information to provide you with the products or services you have requested (such as subscriptions).

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IDEA 17 TERMS AND CONDITIONS 1. Niche Media and its partners will not be held responsible for any loss, damage or non-receipt of entries however so caused. 2. Entries will not be returned. 3. Each category has specific criteria for entry with which you must comply.

Items deemed by the shortlisting judges not to meet these criteria will be deemed invalid. 4.

Submissions in all categories must be projects completed between January 2017 and June 2018.

5. All entries must be completed works at the point of entry. They must not be items created specifically for the awards, speculative works, client pitches, mock-ups or other works not taken to final execution for whatever reason. 6. By

signing the entry form all entrants warrant that they have permission from all parties including clients, copyright holders and collaborators allowing inside and its par tners to publish their work in the shortlist categories, the inside IDEA 2018 Special Edition and any associated promotional material, posters etc. including the IDEA 2018 website, without limitation. 7.

By signing the entry form you indemnify Niche Media, inside IDEA 2018, its employees and ag e nt s a n d s u p p o r tin g p a r tn e r s fro m a ny liability for wrongful use or misrepresentation of the works submitted. You assert that you are the author of the work and own the intellectual and moral rights to the work under the Copyright Act. Wrongful assertion of such rights will render the entry invalid and the entrant accepts all liability for any claim for damages or loss resulting from such wrongful assertion. 8. By signing the entry you assert the truthfulness of this information and assign copyright in this text to Niche Media, further authorising the editing and publication of this synopsis by inside and its partners in the shortlist categories, the inside IDEA 2018 Special Edition and any associated promotional material, posters etc. including the inside IDEA 2018 website, without limitation. 9. All entrants must provide details of the commissioning client

and obtain their permission to enter the project into the awards. 10. In the event that an entry is subsequently found to breach any of the terms and conditions of entry it will be ruled invalid and withdrawn from consideration for an award. 11. In the event that an award winner is subsequently found to breach the terms and conditions of entry their work may be ruled invalid and the award deemed null and void. The entrant will be liable for any costs incurred and must return the prize(s) received. 12. Judges reserve the right at all times to determine whether an entry qualifi es as an acceptable work within the category for which it is submitted. Works the judges deem not acceptable will be ruled invalid. 13. Terms and conditions may be amended, deleted or added from time to time at our discretion and we will publish the revised terms and conditions on the website. By checking the box on the entry form you agree to the full terms and conditions so read them carefully. 14. All judges’ decisions are fi nal and no correspondence will be entered into relating to the judging process or the outcome.

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BUTTERFLY CLASSIC LOUNGE DESIGNED BY NEILS GAMMELGAARD FOR MAGNUS CLESEN

MELBOURNE / SYDNEY 1300 785 199 INFO@INTERSTUDIO.COM.AU INTERSTUDIO.COM.AU

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Contributors 1 1– Sharyn Cairns

Sharyn Cairns is at the forefront of commercial photography in Australia with a specialist portfolio spanning interiors, food, travel and lifestyle. She is committed to creating beautiful images that capture a mood and an emotion, playing with light and shadows to create levels of depth and distinctive memorable scenes. Her work is featured in international and local magazines such as Gourmet Traveller, Vogue Living, Belle, Elle Decoration UK and Dwell, and she has photographed numerous cookbooks for well-known chefs such as Maggie Beer and Guy Grossi.

Sharyn is also co-author and photographer of the book Perfect Imperfect.

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2– Michelle Bailey

Michelle Bailey is a Brisbane-based writer and graduate of architecture from the University of Queensland. She writes regularly for local and national publications about architecture and design.

3– Sarah

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Hetherington

Sarah Hetherington moonlights as an arts writer based in Sydney, Australia.

She has contributed to a range of arts magazines including Vault, Art World, The Art Market Report, Eyeline and Artlink, as well as museum publications including Heide Museum of Modern Art’s Cubism and Australian Art. Having previously held roles as a curator and then commercial art gallery manager, she now works in private philanthropy for the Biennale of Sydney.

She is also a member of the International Association of Art Critics (AICA).

4 4– Dianna

Snape

With a passion for the built environment, Dianna Snape has been documenting Melbourne’s urban landscape for over 15 years through her exemplary photographic practice. She works closely with architects, interior designers, landscape architects and property developers to establish a visual dialogue that records and promotes their buildings, interiors and vision.

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SYDNEY 5/50 Stanley Street Darlinghurst

MELBOURNE 11 Stanley Street Collingwood

+61 2 9358 1155

+61 3 9416 4822

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BOOKS

Read

Bohemian Residence

Architects’ Houses

Luscious and eclectic, patterned, opulent and artisan, every project in this book is exceptional. Saffron walls, teal velvet, art galore and texture absolutely everywhere. Yet, none of these highly decorative flights of the imagination is executed in a cliché of excess. Rather, it is the incredible eye for weighing up detail and space that allows each of these homes to triumph.

Hubert Zandberg’s apartment is a lavish discourse in texture and tone.

Still in London, Tamara and Natasha Surguladze display everything at once, with Murano chandeliers lighting Memphis sculptures and a simply extraordinary marble and onyx screen.

And, while the rooms have an eccentric air, there is also a minimalist sensibility at play in the precise arrangement of objects with materiality very much at the heart. Yellow sofas abound throughout the book in either leather or velvet, a difficult item to sit naturally within a design, yet done here with perfection.

What is immediately apparent is that architects make themselves extremely good houses. The next thought, however, is that for the most part they could do with a good interior designer. So, while the sweeping lines and grand pavilions are magnificent, there is a decided lack of liveable space that doesn’t define the client as a supermodel with nary a functional need. The exceptions are those created by an interior designer/architect partnership such as Silicon house, Madrid by José Selgas and Lucía Cano, or Casa Maremma, Magliano in Toscana, Italy by Andrea and Luca Ponsi. The standout moment is the essay, ‘Drawing on the Past’, which takes a look at iconic examples of homes architects have built for themselves. And, while many of the contemporary inclusions have iconic possibilities – for example, John Wardle’s Shearers’ Quarters on Bruny Island, Australia – some are just big.

Preface—Sally Fuls Publisher—Gestalten Distributor—Books@Manic RRP—$95

Home Work – Design Solutions for working from home Undoubtedly more are choosing to work from home, whether full-time or as part of their working week. By 2015, one million of the Netherlands’ 16.9 million population was working from home. With everything on servers with remote access, it is to some extent difficult to understand what a home office comprises – beyond a desk, good light and ergonomic chair. What Yudina identifies, however, is a need for storage, lots of it, in many, many different configurations – from walls of shelving to hidden nooks. As such this book is a great little catalogue of different ways to hide the stuff of work, including the whole shebang. And it is here that the book takes a neat turn with sliding walls and secret rooms.

Spheron Architects’ Urban Hermitage boasts a wall of mirrors with discreet bi-folds that can be folded back to reveal a bedroom, or just as easily be completely removed from sight.

Author—Anna Yudina Publisher—Thames & Hudson Distributor—Thames & Hudson RRP—$32.99

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Author—Michael Webb Publisher—Thames & Hudson Distributor—Thames & Hudson RRP—$65

The Italian Garden Recounting the transformation of The Monash Centre, Prato in Tuscany from a neglected building dump into a spectacular formal garden, Bangay’s contribution to this book is twofold.

On the one hand he transformed a parking lot into a site specific and wholly authentic response to the renaissance era Palazzo Vaj. On the other, his particular passion for this era and landscaping style make him well-versed in the what and the why of creating a garden that, in many ways, is far more freeform than the formal shorthand he so often uses in his contemporary designs. His writing style is easy and charming, and he invites the reader into both the world of the garden and his evolution as a designer. He is also a very generous writer, explaining why a particular plant or stone was used and what was the impetus for inspiration – 600-millimetre stone edging, for example, creates an option for those not wanting to walk on gravel. Nice.

Author—Cecilia Hewlett and Narelle McAuliffe, with gardening notes by Paul Bangay Publisher—Thames & Hudson Distributor—Thames & Hudson RRP—$49.99

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KING LIVING — SPONSORED CONTENT

Innovation, bespoke art and luxury: King Living’s latest releases King Living is continuing its close relationship with some of Australia’s most talented designers with the release of the ETO, Solifiore and Sand Series ranges.

King Living has been at the forefront of Australian furniture design for more than four decades and, in a continuation of the brand’s history of innovation in modular technology, King Living is engaging in collaborations with premium designers and artists as the brand enters a new era.

SOLIFIORE This year, the brand is introducing its first ever lighting range – the Solifiore range – designed in collaboration with Sydneybased designer Charles Wilson.

Marking his fifth collaboration with King Living, Wilson has designed three iterations in the lighting series: Gymea, Protea and Arum, each featuring distinctive hand-blown glass heads, resembling giant botanicals.

The Solifiore range was conceived to form clusters in a space, which look like giant plant-like shapes and forms.

The lights have slender bronze stems of different heights that morph into conical concrete bases. Offering a premium design solution, the standing lights also have an innovative control mechanism integrated into the stem allowing them to be turned on and off or dimmed by touch.

ETO In another first for King Living, the brand has worked with designer Tom Fereday on the ETO desk range: the first desk in the world to offer interchangeable lighting and charging accessories.

The ETO integrates power, wireless charging and lighting seamlessly into one sophisticated minimal design allowing

people to truly customise the table to suit their needs.

A slim integrated drawer unit offers storage for both everyday desk items such as laptops and stationery alongside the charging table and light accessories allowing for multiple uses of the table within the home environment. The table is constructed from a unique extruded oval profile aluminium frame and finished with FSC (Forest Stewardship Council) rated oak, walnut and black Japan veneered tabletop.

The ETO desk is the first collection to be launched by Tom Fereday in collaboration with King Living and is coming soon in a range of sizes and finishes.

SAND SERIES Complementing the elegantly minimal aesthetic of King Living, internationally acclaimed photographer and artist Nick Leary’s latest art collection for the brand, Sand Series, is an emotive interpretation of freedom and form. The monochromatic shapes of Leary’s work make for elegant and subtle styling pieces.

The works are the latest to come out of the artist’s collaboration with King Living and the bespoke series explores the journey of King’s history. “With Nick we felt we had a collaborator that understood our product and aesthetic,” says Anna Carrabs, CEO, King Living. “His work reflects the care and attention we put into all our furniture, resulting in beautiful and meaningful artworks.”

“It’s a collaboration that we were after,” adds Leary. “It’s listening to the story and then allowing myself as an artist to go and be free enough to create something interesting that’s within that story.”

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IN REVIEW

San Francisco Decorator Showcase 28 April to 28 May 2018 465 Marina Boulevard, San Francisco, California, US

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opposite—The Rose lounge/ family room by Melanie Coddington Design. Image Patrick Argast. left—Willem Racké and Susan Chastain’s Tangerine Dream lounge.

Image Rebecca Kmiec

text—Jan Henderson

Each year at the end of April in San Francisco a special event is held that presents the work of the very best designers and design practices from the local area. This unusual and innovative event is the San Francisco Decorator Showcase and it has become one of the major happenings on the US design calendar. As an outstanding vehicle to support designers and raise money, the San Francisco Decorator Showcase is in a class of its own.

The concept for the Showcase came about 41 years ago as an original idea from Nan Rosenblatt, an accomplished interior designer. Rosenblatt was also the mother of a student who attended the highly regarded University High School (UHS) and she was passionate about organising an event that would raise money for scholarships to the school.

Combining her involvement with UHS and her love of design, the concept of the Showcase was an instantaneous success.

Established in 1977, the San Francisco Decorator Showcase has now become an enormous undertaking with more than US$16 million raised over the 41 years, contributing to the education of some 1000 UHS students. Last year alone the Showcase raised more than US$600,000 and this year the total was over US$700,000.

The Showcase takes much planning, however, and many helping hands in order to become a reality. Each year more than 30 full-time volunteers and many part-time helpers work five months in advance to ensure the house is completed on time and to an exacting standard.

To create the Designer Showcase, a property is sourced that may be for sale or in need of renovation and, after the home is secured, a 15-member advisory panel reviews submissions from designers over a

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three-day period to recreate a room of their choice.

Once the participants have been decided upon and the rooms allocated, the project begins. Each year there is a different interior theme; however, the designers are free to create their one room in a style of their choosing.

Many products, such as wallpaper, fabric, stone, paint and cabinetry are donated from industry and the designers can also include objets that they supply. Money is raised through entrance fees to the Showcase, functions held at the house and donations from supporters. Rooms or even the whole interior can be ‘bought’ by the public or the owner of the house. It’s a ‘win win’ all round as designers have the opportunity to present their work to the general public and UHS receives money for scholarships.

Over the past four decades a multitude of properties have been transformed and most have been located in San Francisco’s best suburbs. Last year a 1904 mansion with a footprint of some 1022 square metres was rejuvenated. This year the property is smaller at 465 square metres; however, it is directly positioned opposite San Francisco Bay and boasts four bedrooms and multiple entertaining, public and private rooms.

This year the Showcase at Marina Boulevard includes the participation of 26 design practices, each with their own room and, although there is an eclectic creativeness, surprisingly, each room sits well within the house and with each other.

The continuum within the house is expert design presented with style and innovation.

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below—Lane McNab Interiors, in house wine cellar. Image David Livingston. opposite—Design

by Gretchen Murdock of Modtage Design. Image Christopher Stark

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S HAW CON TRACT — S P ONS OR ED CONT ENT

Country Road takes new home David Jones and Country Road Group’s new corporate headquarters makes its mark at the Shaw Contract Design Awards.

Gray Puksand’s work for the first stage of the new David Jones and Country Road corporate headquarters has recently been selected as a Category Winner in the Large Office category of the 2018 Shaw Contract Design Awards, chosen from a pool of over 500 total entries submitted from 40 countries around the world.

The Shaw Contract Design Awards recognise the creative vision of the architects and designers who inspire new ways of living, working, learning and healing.

The Awards place a spotlight on a diverse range of talents from across the globe, celebrating design in action and purposefully rewarding the innovative and truly inspiring work being done by the architecture and design community.

Gray Puksand has delivered the first stage of this exciting workspace project creating the new home for Australian fashion retail icons David Jones and Country Road Group – comprising Country Road, Mimco, Politix, Trenery and Witchery.

With a significant investment by parent company Woolworths Holdings Limited (WHL), this new home for Australian fashion retail icons needed to celebrate the unity of David Jones and the Country Road Group, while also showcasing each brand’s individual identity.

Imperative to the brief for the project was that the new headquarters embraced the Group’s Good Business Journey plan to become one of the world’s most environmentally and socially responsible retailers.

Asserting David Jones and Country Road Group’s status as an employer of choice, it was also important to create an enticing and attractive work environment for their employees, many of whom where relocating to their new home in numerous stages.

Inspired by the company’s premium quality brands, Gray Puksand’s interior designers Charnay Mouldey and Renee Maranta responded to the brief by creating a sophisticated design concept and palette.

Focused on locally designed and manufactured furniture and materials, the design concept is reminiscent of contemporary Australia’s diverse landscapes and natural features, reflecting nature with sophisticated neutrals such as greys and taupes, and highlighting in soft pinks, greens and yellows.

“At its core, the design reflects these well-known brands and speaks to the organisation’s diverse, authentic and luxury offering,” explains Gray Puksand partner, Heidi Smith.

“Through its carefully considered design, the project aspires to delight, innovate, and respond to the changing face of retail.”

The WHL Group’s Good Business Journey plan is to design and produce fashion more sustainably and make a positive environmental and social impact on the world. In support of this and the Australian design story, this project proudly embraces local, ethically sourced products alongside ecofriendly finishes that promote end of life recyclability.

In spatial planning, the large 4000-square metre floorplates required careful attention to ensure that the employees have a level of natural daylight with physical and visual connection across the workspace.

Collaborative areas and amenities that exist at the centre of each workspace neighbourhood were treated as ‘pavilions’ to ensure that they emphasises line of sight, physically and visually connecting the large floorplate. As a design solution and a play on the concept of ‘pavilion’, the dark ceiling and flooring create juxtaposed, bold black planes that clearly communicate a different type of work environment.

Aesthetically, the Vertical Layers and Extraordinary collections from Shaw Contract embraced the materiality palette perfectly. Challenged by large dark floorplates, Gray Puksand selected warm and vibrant textile grey carpet tiles to lift the environment and create a sense of light filled space.

Shaw Contract carpet tiles were also used to visually create the grounding of the ‘pavilion’ built forms as well as subtle wayfinding connections, leading staff and guests through the space to destination points across the floorplate.

Shaw Contract’s sustainability credentials significantly contributed to WHL Group’s Good Business Journey requirements with its Cradle to Cradle certification and its take-back of 80 percent of the existing carpet tiles.

Gray Puksand has delivered the first stage of this exciting workspace project, creating a fashion hub that is both welcoming and innovative.

“While we’re still working through delivering the remaining stages of this huge project, we couldn’t be happier with the

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outcome so far,” says Matt Heathcote, general manager of the project for David Jones and The Country Road Group.

“Our employees are really enjoying their experience in Building One. We’ve used our atrium for some great events and the neighbourhoods are providing creative environments that encourage collaboration across our various brands”.

All Category Winners of the Shaw Contract Design Awards are now automatically entered into the Final Awards Program and People’s Choice Voting. Stay tuned for the Final Winners announcement in August.

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IN REVIEW

Giles Alexander: Turtles all the way down

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below—Eccentric Action Painting 1, 2018, Oil and resin on rotating aluminium, 100 x 100cm

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top—Landscape Painting 12, 2017, Oil and resin on aluminium, 180x170cm. bottom—Eccentric Action Painting 3 2018, Oil and resin on rotating aluminium, 100 x 100cm

Nanda\Hobbs Gallery 23 May to 9 June nandahobbs.com Nanda\Hobbs @ Sydney Contemporary 13 to 16 September, Carriageworks Sydney

It is a rare thing to walk into a commercial exhibition and find most of the work already sold, and sold well before the official opening. This, however, has become par for the course with the works of Giles Alexander – hitting a note with art collectors, museums and anyone who has ever spent an evening gazing at the stars.

The title of the work, Turtles all the way down, is telling. It’s the kind of geeky anecdote that many don’t get, but those who do, love.

“A well-known scientist (some say it was Bertrand Russell) once gave a public lecture on astronomy. He described how the earth orbits around the sun and how the sun, in turn, orbits around the centre of a vast collection of stars called our galaxy.

At the end of the lecture, a little old lady at the back of the room got up and said, ‘What you have told us is rubbish. The world is really a flat plate supported on the back of a giant turtle.’ The scientist gave a superior smile before replying, ‘What is the turtle standing on?’ ‘You’re very clever young man, very clever,’ said the old lady. ‘But it’s turtles all the way down!’” (Stephen Hawkins, A Brief History of Time) For Alexander, the complexity of the universe and our ever-increasing knowledge of its ‘strangeness’ is profoundly ungraspable. Yet, his work captures the force and grandeur of both the unknowable and the known in equal measure.

Arguably, it is his incremental painting process that captures, on one hand, the vast planets, and on the other the notion of time evident in the creation of the works. “ Paintings can sit in the studio for months and are created from multiple glazes; each one shifts the hue, value and tone over time and moves the work forward,” says Alexander of the thousands of brushstrokes and glazing that make up these extraordinary works. Moreover, the painting process is effectively an act of faith, whereby the materiality of resin presents both chance and control as it pours, settles and takes on the effects of gravity. The beauty, then, lies not just in the precise and magnificent imagery, but in Alexander’s perfectionist drive for “greatest optical clarity”.

Alexander’s work is held by national and international collections of note within both the private and public sectors. A selection of works will be shown at Sydney Contemporary by Nanda\Hobbs.

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DATELINE

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July– August 1

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1. Carriageworks, Ryoji Ikeda, the Planck Universe (Micro) 2015. Image Martin Wagenhan. Courtesy ZKM Karlsruhe

1- Ryoji Ikeda: Micro | Macro Carriageworks, Eveleigh, Sydney 5 – 29 July

2- Pavilion of Australia 16th International Architecture Exhibition – La Biennale di Venezia, Venice Until 25 November

3- Japonisme: Japan and the Birth of Modern Art

2. Venice Architectural Biennale, Australian Pavilion. Image Rory Gardener

“My work is created by reducing sound, light and the world into sine waves, pixels and data… so that the world can be viewed once more at a different resolution,” says Ryoji Ikeda, of the experiential installations that transform an environment into an endlessly calculated exploration of space. Developed during a residency in Swiꜩerland’s CERN (the European Organisation for Nuclear Research) the work draws on the scientists’ study concerning the fundamental structure of the universe. Effectively, the centre uses the Large Hadron Collider to collide particles for a better understanding of the universe.

Micro | Macro posits a visual manifestation of expanded and diminished scale to recontextualise the human universe equation.

Baracco+Wright Architects in collaboration with Linda Tegg will this year place 10,000 plants inside and outside the pavilion in a bid to “disrupt the viewing conditions through which architecture is usually understood”. The plantings, which include 65 species of Western Plains Grassland natives, acts as a reminder of the impact land occupation has on our native fauna. Moreover, the physical presence of vegetation allows a dialogue between architecture and endangered species to prompt thought of cohabitation. An experimental video series will show 10 projects concerned with repair, while a third installation will provide the plants inside the pavilion with the requisite light.

Championed by architect and designer Edward William Godwin, artist James McNeill Whistler and critic Oscar Wilde, the influence of Japan on British aestheticism cannot be underestimated. Indeed, from 1854 Japanese art made its way to Europe and sparked a shift in the way form and decoration coexisted. Over the following century, the influence was profound with the bright colours and strong line of Japan subtly influencing all aspects of the arts. The National Gallery of Victoria exhibition is very much about the role of these decorative arts in the emergence of modernism, with a British domestic interior demonstrating the influence of Japanese art and design principles on the British Aesthetic movement.

3. NGV, Christopher Dresser, Hukin & Heath, Tea Service, 1879

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NGV, Melbourne Until 28 October

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4- Design Tokyo Tokyo Big Sight (Tokyo International Exhibition Centre), Japan 4 – 6 July

5- DW! São Paulo, Brazil 29 August – 2 September

6- Object Therapy – Design Tasmania Launceston 6 July – 19 September

Curated by a screening panel of industry professionals, the fair aims to bring marketable Japanese products to the world. These range from lighting and furniture through to cute collectables, tableware, gifts, paper, fashion and all manner of accessories. At its heart, there is a major push to set up commercial relationships by matching buyers and designers with agents and suppliers.

That said, the main attraction is the range of ceramics and textiles, which celebrate Japanese craftsmanship.

Additionally, there are dedicated exhibition zones this year for fragrance, interiors and Japanese design. There are also awards.

The São Paulo Design Weekend has expanded considerably since its 2012 inception. The basic premise of a design weekend is solidly foundational, but from there the realisation is freeform with galleries, design houses, museums, shops and shopping centres all taking part in the event that spans the entire city. Key to the event’s success is Lauro Andrade (CEO of Summit Promo), who has enlisted all media as partners in the event, which ensures huge coverage and awareness. Andrade has kept the event’s aim steadfastly on promoting the importance of designers, and it shows. It is also a great excuse to get yourself to Brazil!

Tasmania has the highest concentration of craftspeople and designers in the world, thanks to the extraordinary indigenous timbers.

Huon pine, King Billy pine, celery top pine, sassafras and myrtle are perhaps the most widely known, but there are a great many more and Tasmanian designers are bringing these timbers to light. The collection is deliberately limited to contemporary designers who live and work (or have lived and worked) in Tasmania, such as Brodie Neill, Brad Moss, David Ralph and Chalit Kongsuwan, whose work in blackwood and woven matting is sublime. The current exhibition, Object Therapy, takes broken objects and reconsiders their use. The exhibition addresses sustainability, reuse and the engagement between design and the community towards new outcomes.

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4. Design Tokyo. Image David Serisier 5. DW! Brazil. Iguassu Falls. Image Sarah Hetherington 6. Elizabeth’s Knitting Needles, repaired by Guy Keulemans and Kyoko Hashimoto.

Image Kyoko Hashimoto

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DESIGNWALL

Kuwaii Fitzroy

Drawing Room Architecture

The original store was built in 1852 and, along with its neighbours, is thought to be one of the oldest group of retail buildings in Melbourne. With this renovation, the interior of the building has been given a new lease of life as the latest flagship store for Melbourne fashion brand Kuwaii.

The brief to Imogen Pullar of Drawing Room Architecture was to create a light-filled, bright modern space with clean lines, but also include a touch of romance, warmth and richness. In essence, the idea was to create an inviting and comfortable retail experience to reflect the values of the brand.

Kuwaii is an independent Melbourne-based fashion label esteemed for making beautiful, intelligently designed clothing and providing an alternative to mass-produced fashion. Its core values are to create slow fashion with transparency, minimal waste that pays respect to the environment, equality and community.

With a limited budget, there was little to spend on the existing shell, and many of the original details of the rustic interior – including cornices in a variety of styles, an existing fireplace and an uneven concrete floor – remain. With a fresh coat of paint, a touch of the old world charm becomes the backdrop to the new polished custom pieces.

Working with 33 square metres, the challenge was to retain the spacious and minimal interior even when filled with stock. The black steel racks and pink counter have been positioned on the perimeter of the space and an ottoman and jewellery cases have been centrally located to facilitate views across the interior and promote a sense of openness. Shelving for shoes has been backlit and is designed to ‘float’, and every element has a lightness. To counteract this, the change rooms have been painted a deep pink with rich velvet curtains that create intimacy and warmth.

Kuwaii is a strong advocate for locally designed and made production; it was important for the fitout to follow suit. Local makers were chosen to fabricate the custom pieces, and furniture, rugs, curtains, hooks and feature pendant lights were made in New Zealand. The counter is birch ply, clad in pink linoleum that has been made from natural raw materials and the plinths, mannequins and lamp are all refurbished secondhand pieces. drawingroomarchitecture.com.au photography—Nicholas Wilkins

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DESIGNWALL

Cobram Library and Learning Centre

CohenLeigh Architects

The Cobram Library and Learning Centre is a distinctively ‘local’ library, embracing emerging technologies and promoting flexible learning and library spaces across all ages.

Working closely with local community groups and stakeholders, the design process involved tracing the line of the nearby Murray River, then superimposing this as the cut line on a curvilinear timber battened screen. The result is a dynamic and transformative façade that wraps the perimeter of the library, filtering and throwing light into the new internal library spaces.

Internally, the library thoroughfare is defined by a fluid ceiling element, mimicking river-like fluidity and acting as a way-finding device through the spine of the library. This element wraps down at the service area, transforming into bookshelves and a reception counter.

At the building edges, a series of abstract punctuations on the perimeter allow for private and flexible breakout spaces, offering contemplative and reading areas. The effect is a community space both highly flexible and adaptable.

Located on the site of the existing Civic Centre, the Cobram Library and Learning Centre encompasses library and reading spaces, community meeting rooms and new technology areas.

Conscious of its place and identity, it embodies and celebrates the idea of a ‘local’ library, with design language that is evocative of the popular Murray landscapes. cohenleigh.com

photography— Tom Blachford

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DESIGNWALL

Woods Bagot New York studio

Woods Bagot

Woods Bagot’s 16 global architecture studios share a single primary function: to be places for building things. The New York studio, created around people and their projects, was designed with this global ethos. Hand in glove with making is showing, so an additional functional criterion was ample space for showcasing work in progress.

Throughout, pin-up spaces and shelving showcase drawings and models that provoke everyday conversation, collaboration and critique.

The firm’s 150-year experience, backed by study upon study, has shown that the most fertile environments for making foster collaboration.

Enabling communication between the global studios, as well as within the New York studio, was key. The spacious pantry with its industrialstrength espresso machine is the social heart of the studio, and video conferencing is seamlessly integrated throughout.

The studio’s raw yet refined form expresses both the Woods Bagot culture and its dense Lower Manhattan location. Blurring hospitality, residential and workspace design, the interior mixes local grit – showcased in the raw columns, exposed pipes, concrete floors with natural cracks and stains – with couches, soft drapery and plants. A material palette of wood, steel and the layout itself is innovative. Rather than confronting a barrier-like reception desk, visitors arrive into a spacious lobby where the internal ‘Instagram’ is projected on a large screen.

Adjacent to the kitchen is the VR (virtual reality) lounge, where clients and designers can enjoy immersive experiences of their projects in progress.

From the library to the model shop, the designers have maximised every centimetre of space. Filing cabinets are replaced by ‘holes in walls’, while overhead storage lines the flexible workbenches that form the studio ‘street’. woodsbagot.com photography—Brooke Holm

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BIBELOT

MARK DOUGLASS

Bespoke blown

As interior designers increasingly look for bespoke elements, the best of the artisan creatives are rising to the challenge. Among these is Melbourne-based Mark Douglass, whose hand-blown glass light fittings have graced such projects as Pascale GomesMcNabb’s Stokehouse in St Kilda. Comprising 2400 glass rods in a soft wash of white and palest pink, the feature light is an elegantly sculptural element within the overall design that shifts from subtle to sumptuous as the whole is infused with light.

Also for Gomes-McNabb, Mark Douglass was commissioned to design and produce hand-blown door handles in a deep pink red redolent of large plump grapes for Penfolds Magill Estate. It is an elegant touch that brings colour and form via a tactile material that we are usually censured from touching! The very elegant orbs of sea blue glass with LED filigreed bulbs, seen in this project, are also his.

Drawing on traditional techniques, Douglass has recently incorporated heat resistant paints from the US. “The process of blowing glass that has been hand-painted is unique and interesting. It is a two-

part process that involves the production of a glass ‘egg’ that is then painted, reheated, dipped in clear glass and blown into the final shape. The resultant image is encapsulated in the glass,” says Douglass.

Effectively, these paints allow Douglass greater control and range towards the abstractions inherent to the stretching and twisting of heated glass.

Working largely with designers on bespoke projects of up to 30,000 glass objects, Douglass also provides two off the shelf ranges, titled Design and Core. While a standard item, each is a unique and individual piece evidencing the artist’s hand and of considerable beauty. “By developing a hand-blown range of lights we are able to produce a consistent and affordable run of different shapes and colours,” says Douglass.

With a career spanning 20 years as a master glassmaker, artist and designer, Douglass has exhibited broadly, with representation in Australia with Gould Galleries and Greenhill Galleries, and in Hong Kong, Osage Art Consultancy. His work is held in national and international collections of note.

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PRACTICE

Creative collaborations Meet three designers who work separately yet together. It’s a smart move to pool knowledge and resources when you’re making your way in the world of product design and Michael Gittings, Jonathan Ben-Tovim and Makiko Ryujin are leading the way through their talent and collaboration.

text—Jan Henderson photography—Made in the Dark

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previous—Portrait of Jonathan Ben-Tovim, Michael Gittings and Makiko Ryujin. above left—Electroformed chair, Michael Gittings. above right— Crash wall lamps, Jonathan Ben-Tovim. right—Shinki, Makiko Ryujin

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These days collaboration in design is approached as a meaningful and rewarding endeavour. Going solo can be a lonely existence, but working alongside like-minded colleagues who inhabit the same multifaceted world lightens the load and shares the challenges. In Melbourne’s northern suburbs there are three such designers who have singularly established themselves in very different areas of product design, but together they work and support each other reaping the rewards of their partnership.

Michael Gittings, Jonathan Ben-Tovim and Makiko Ryujin share a studio and workspace in Fawkner alongside a variety of panel beaters and paint shops. They moved to the area as it could offer a larger and more affordable space for their labours and in doing so they have found strength and gained knowledge from each other.

Gittings is a furniture and object maker and manufacturer with a difference – he is obsessed with electroplating. Ben-Tovim is an industrial designer who is interested in stretching his creativity designing bespoke objects, while Ryujin is a photographer also fascinated by woodturning and fire.

These are three very different types of product designers, but each is passionate, almost eccentric, about their respective artistic form. The threads that link them are authenticity, a love of sustainability and the ideas of reuse and reinvention. Each of the designers reuses materials, whether a vat of copper sulphate, discarded lumps of wood or broken car panels, and each has their own story to tell. However, the knowledge that they have gained over the years is shared to help each other, whether through the understanding of CAD (computer aided design), the intricacies of process and structure or photography of finished products.

With a trade background Gittings followed his heart and became a designer of furniture working with metal. He has fabricated chairs, tables, chaise longues and cabinets, but the point of difference is his electroplated finishes. Through trial and error, he has developed a procedure that requires the framework of spray-painted products to be dipped into a tank of copper sulphate liquid and, as the copper adheres to the structures, it manifests in different ways, coating the framework in a smooth or rough finish depending on the requirement. Gittings also plaits and weaves metal for the seats and backs of lounges, working beautiful patterns into the metal, while his chairs become objects that present a

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gnarled and bubbly coating over the simple frames.

Ben-Tovim, on the other hand, has created many bespoke and individual items that include a set of ethereal lights displayed at Melbourne Design Week this year. At first glance, the lights appear to be made from black glass; however, nothing could be further from the truth. For his material Ben-Tovim has sourced bent and discarded car panels that he cuts to a size, beats into shape, then strips and paints in a high gloss finish. Each metal panel becomes an undulating, floating over-garment for a light fitting and is certainly unique. He has also made benches from used snow skis; however, lighting is his main focus.

For Ryujin the beauty of timber and its secrets are a fascination. Her section of the studio is crammed with timber offcuts and tree stumps of all sizes and shapes ready to be turned into delicate bowls. Again presenting a collection for Melbourne Design Week, Ryujin created bowls that are turned to perfection, but were then fired and charred. Through this process the bowls crack and break, morphing into delicate and individual objects of great beauty that are so much more than turned wood.

All three makers have a process that they adhere to; however, it is the act of making and the material that is used that ensures each object is different.

Gittings cannot predict or replicate exactly how the copper will adhere, Ben-Tovim can only imagine the section of the panel to be pounded into shape for his pendant light and Ryujin can only control the fire to a point and then the wood grain decides which areas will crack and shatter.

There are no cookie cutter products made in this studio; each finished object is bespoke and worthy of a gallery plinth. The artistry of the making is that each designer creates an object and then the particular material ‘decides’ upon the finished form.

Of course, things don’t always go to plan, but then sometimes it’s the objects that fail that inform the process for an even better resolution further down the track.

Gittings, Ben-Tovim and Ryujin are all pushing the boundaries of their creativity and on the journey they are developing and refining the process of making beautiful products. It is artisans such as these that are propelling Australian design to the forefront of world attention and each designer exemplifies the talent that abounds in our country – and they are doing it together and helping each other. Long live creativity and collaboration.

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below—Toorak house. Image Chris Warnes

P ROFILE

Adele Bates wants to do everything

text—Gillian Serisier

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Starting her own business in 2012, Adele Bates has established her practice relatively quickly. Refusing to be pigeonholed to any particular aesthetic, she shows a consistency of materiality evident in her projects – from the plush layers of Stokes Street to the stark stone expanses of Q le Baker. “How the light makes you feel in a space is a key touch point.

I like the fact that we create a sensitive design that is timeless in nature and never a transient selection.

Natural materials, such as stone for example, are hand selected and it’s important for us to understand the variation in material and what that will bring to the project,” says Bates, who completed a diploma of arts in interior design at Holmesglen Institute of TAFE, subsequently adding studies at RMIT in project management, Revit and AutoCAD.

The evolution of Adele Bates over the last six years has been a combination of exponential leaps driven by large projects and the organic evolution of a business model that brings likeminded people together. Bates is very clear about this. She started the practice to surround herself with people she wanted to work with, who were similarly interested in working on a diverse range of interiors and products, and who also looked at design from a non-blinkered perspective.

As she explains, “Being open to a wide range of opportunities that come my way, not being bound to projects in any particular sectors.” With the recent shift to her new workspace, there are also plans to create an installation and workshop environment.

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Born in the era of social media, the practice has been an early adopter and made its presence known. As an aside, the practice’s very first Instagram post was of the beautiful NGV Atrium during IDEA 2013. For Bates, these avenues have been a useful tool; however, it is mostly through word of mouth that clients have approached her. “The shaping of the business has really been based on the shaping of relationships with our clients and the industry, ever evolving with each project,” she says. Bates is also proactive and seeks out people and companies that share her vision and ethos with a view to collaboration. To some extent this is ahead of the trend, as, though many promulgate collaboration, most only work in this way at a client’s request.

Projects too have put Adele Bates on the map but, more importantly, they have played key roles in defining the practice’s abilities, strengths and where and how it becomes appropriate to push boundaries.

Stokes Street for Bates was a full immersion into design, working from inception with the developer through construction, interior design and all the finishing touches of styling. “We often work with art, but objects are viewed as artworks as well, so furniture or the formation of lighting may become a sculptural element within that space. We use light pieces in unpredicted ways that may be obscure, but create an art installation. We like to blur the lines of what art is in a project,” says Bates. Holistically realised, the project reads as a single aesthetic of subtle and shifting moods. Q le Baker gave Bates the opportunity to flex her commercial muscles and marry feasibility and pragmatic needs, while building a unique identity that answered the client’s specific vision.

The Chadstone showroom for Sub-Zero & Wolf gave Bates the opportunity to work on a design that would become an integral part in creating a brand identity in Australia, while driving her team to see beyond traditional design solutions.

While Bates has always designed bespoke furniture for her projects, she is now looking to manufacture more broadly. “We don’t shy from speaking to the right people and getting support behind us to push materiality, or what we can do to arrive at specific formations,” says Bates, who reiterates the importance of this type of collaboration as a primary driver for starting her own practice. That said, there will always be room for the classics. “I think there is always going to be a place for the iconic, and I don’t shy away from that. I think it’s about what is right for the project. I don’t think it’s necessary to produce more of the same, but it’s about pairing and scale and never a formula. If we find the right piece that is available in the right finish or upholstery, that is fantastic,” she says.

Underlying Bates’ success is the very simple statement “we like to do everything”. Importantly, this does not mean, ‘we like to do everything ourselves’.

Rather, collaboration and expansion are foundational with expertise brought in with a sense of joyful discovery. And it is this aspect that shows in work that has a deep authenticity of materiality, aesthetic and detailed response.

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above—Stokes Street residential project. Image Chris Warnes. opposite—Q Le Baker, hospitality project in Prahran Market. Image, Christine Francis

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AT HOME

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At Home: Kerry Phelan & Stephen Javens

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Kerry Phelan and Stephen Javens lead Melbourne-based interior design and architecture studio K.P.D.O. (Kerry Phelan Design Office). Preferring to stay a little quieter among the frenetic noise and pace of the design profession, Phelan and Javens work to create beautifully considered spaces for their clients. inside co-editor Jan Henderson visits them At Home to discover the private world they share.

photography—Dianna Snape interview—Jan Henderson

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inside: How long have you lived here and what drew you to the property?

Kerry Phelan and Stephen Javens: We’ve lived here for three years. Jolimont is a beautiful pocket of East Melbourne, super quiet, and the parks are a delight.

When did you produce this design?

I think it’s a lifetime of training the eye. And we’re happy nothing is really set in stone; if we see a better opportunity we’re happy to move everything around again. It’s good to refresh.

What was the thinking behind the design?

It’s really just a gradual curation of pieces we’ve collected over the years. The house has high ceilings and the windows overlook parks on both sides, so the light quality is amazing. So really, it’s a matter of arranging objects to suit the volume and light.

Are you a good client?

Yes, we are!

Which is your favourite room and what makes it special?

We love the dining room. The dining tables are so flexible, perfect for dinners for two or 12 friends!

And at other times we lay out our current books and magazines, with glass vases and flowers.

We especially love lighting the fire here.

Tell us a bit about working with your art collection?

We’re lucky the house has wall space and high ceilings. Even though we’re modernists, there’s a lot to be said for Victorian architecture.

Which is your favourite piece of furniture and why?

The dining tables are high on the list! Beautiful objects in themselves, they work so well for entertaining or as display surfaces.

We also love the red/pink/orange glossy cupboard, the Privata tables, the green vase…

Does being in the design industry, where you’re constantly looking at new design, make it difficult to choose products for your own home?

No, not at all. We’re lucky to have access to beautiful products.

Are there any loose elements that you change frequently and, if so, what are they?

Beyond keeping the function of the rooms consistent, everything else is set for rearranging as new objects arrive. We like a lively environment, but not clutter, so we retire some objects to storage for a rest.

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CARPET

TILES

&

PLANKS

transitions

Perfect for commercial fitouts, Transitions carpet planks are produced using Australia’s only Designer Jet machine for maximum design flexibility and fast delivery from local stock. Featuring a soft velvet feel, the cut pile carpet finish achieves a Commercial Extra Heavy Duty rating. Designed to mix and match or use individually within a project, the transition collection features 11 colours, common across the three ranges.

Contact a Godfrey Hirst account manager to order sampling and discuss your next Commercial project.

PH AU: 1300 444 778 (GHIRST) PH NZ: 0800 500 210

COLLECTION

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28/06/18 5:12 PM

DISCOURSE

Extrapolating the brand

interview—Jan Henderson

March Studio, a multidisciplinary architecture practice, has been a leader in design since it was established in 2007.

It has amassed a critical portfolio of completed projects that are truly individual, embrace new ideas and directions and inevitably set trends. In this Discourse, directors Rodney Eggleston and AnneLaure Cavigneaux discuss their work and the underlying ideas that drive them and their team to achieve greater heights within the world of design.

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previous—Aesop Adelaide, Australia. Image Dianna Snape. right—Baker D. Chirico, Carlton, Australia. Image Peter Bennetts

inside: Since inception, March Studio has been renowned for understanding what a brand is and representing it through design. What is the process and how do you drill down into a client brief and then translate this to an interior?

Rodney Eggleston and Anne-Laure Cavigneaux: We often look to cinematography for inspiration when designing for brands. From [Jacques] Tati, [Peter] Sellers, [Georges] Mélies to [Stanley] Kubrick, via [François] Truffault, [Wong Kar] Wai and [Terry] Gilliam... In many ways what we do for these projects is like creating a short film. First we need to believe in the brand story. We conceive the dialogue with our client, imagining different scenarios and how these might play out in the space. Then, we translate the narrative into a physical environment through lighting, ambience, materials. We compose the costumer experience, and what would be the legacy of their holistic experience. The process is a story, the result is physical and material, but palpable and empirical.

What is the most important aspect of designing a new interior for a client?

To design for all, to create projects that have legacy that will stand the test of time.

Brands often get bogged down with marketing and strategies that tend to divide our community into narrow segments. We often see marketing following other creative fields like design, architecture, art, fashion, post-rationalising and dictating our habits.

This philosophy creates fleeting spaces that do not last, being more wrapped in the moment of trend and fashion than making a lasting statement.

by our large workshop, where prototypes and experiments are produced on a daily basis. When you start to unpack the possibilities of fabrication techniques – such as folding, bending, spinning, turning, casting etc – it’s hard to imagine two projects that could look the same. Each project is an experiment that gains us a little bit more knowledge and the confidence to try something else new.

March Studio is perhaps one of the first practices to understand that branding, concept, graphics and interiors work together for a complete design outcome. What led you to explore this multidisciplinarian approach to design?

When we started out we found it a little strange that architects didn’t engage with interiors, retail or brands in Australia. It was a taboo form of work full of mostly uninspiring environments. We knew when we started that we weren’t going to design a museum as a first project! And when the GFC (global financial crisis) took hold in 2007, combined with the threat of internet shopping eradicating all forms of high street shopping, we found ourselves looking at retail as a genuine area for fresh thinking and exploration.

We have always liked a multidisciplinarian approach because it enables us full control, the ability to remain nimble and move quickly, and capture a singular, holistic endeavour.

Your projects are all so very different and individual. Which do you think have been the most successful and why?

We like to explore different design languages via varying geometries and materials. This is facilitated

Each project captures what we were learning and thinking about at the time, in our career. It is really hard to choose one over the other because ultimately they all only exist because of each other. We love the immediacy of retail and hospitality, but we also appreciate the time for refinement that goes in to larger scale projects, houses, public buildings and the like.

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Many designers and architects say they design site and client specific, but March Studio truly creates experiential design that is constantly changing. How is this achieved?

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STYLECRAFT — SP ONS OR ED CONT ENT

Stylecraft ushers in new era Stylecraft is entering an exciting new phase with the opening of the doors to its new StylecraftHOME showroom in Melbourne.

StylecraftHOME opened its flagship Sydney store in early 2017 where it quickly gained the attention of the design industry and this acclaim has spurred the rapid growth and development of the brand.

“Our Melbourne showroom has been an iconic location for so many years, to have the opportunity to occupy the complete building and introduce our StylecraftHOME concept to our original space is exciting for everyone within the design community,” says Stylecraft brand director, Tony Russell.

“In Melbourne we have worked with HASSELL, which designed our Sydney StylecraftHOME showroom and carried through elements that worked successfully while also ensuring we maintained that ‘Melbourne flavour’. Clients can expect to see consistent themes of timber panelling with a bold use of colour, mesh screening and terrazzo flooring, but the real highlight will be the use of the archways to create a European courtyard in the middle of Melbourne’s CBD.”

The concept was born as Stylecraft’s long-standing European and Japanese brands introduced residential collections that held great appeal for the Australian market. The establishment of StylecraftHOME allows Stylecraft to delve deeper into these collections and feature otherwise unseen pieces alongside familiar classics reimagined for the home environment.

At the heart of the brand is creating a sense of home, which has become increasingly important across all fields of interior design as greater emphasis is placed on well-being and forging stronger connections to the environment and community.

The new showroom, located in a former nightclub, features pieces from Stylecraft’s exclusive brands including Tacchini, Verzelloni, Arper, Stua and Prostoria, together with Japanese brands Ritzwell and Karimoku New Standard. The space also presents the opportunity to showcase more local Australian design, including collections by Ross Gardam, Keith Melbourne, Helen Kontouris and Skeehan Studio.

StylecraftHOME Melbourne is located at 145 Flinders Lane.

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ZENITH — SPONSORED CONTENT

Bringing a residential aesthetic to the workplace As we continue to see a domestication of the workplace, Zenith has launched a new modular seating range, Platforma, which brings with it a soft residential aesthetic.

With the continual blurring of the lines between work and home life, it makes sense that companies are increasingly investing in workspaces that mirror our own homes. What was once a rarity, it’s now commonplace to find relaxing armchairs and living room-like breakout spaces in today’s offices.

As part of Zenith’s mission to create more eclectic, comfortable spaces in which to work, the company decided in 2009 to invest more heavily in its in-house research and development (R&D) department, and consequently the Zenith Design Studio. The studio’s

designers are focused on creating environments that inspire people to excel, by designing furniture that fosters an inviting atmosphere.

Fresh out of the studio is the Platforma range. Drawing its name from the solid ash base on which it sits, Platforma showcases clean architectural lines juxtaposed with relaxed upholstery. The range comprises an armchair, lounge, modular lounge, chaise and ottoman. The collection is adaptable to suit an array of spaces. Optional planter box, cushions and complementing side and coffee tables are available, as are modular connection brackets.

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This is not any sofa.

This is a King.

You’ll love the thought that’s gone into the multi-award-winning Jasper. Built on King Living’s superior steel frame, backed by a 25-year warranty, the secret to Jasper’s success is its incredible versatility. Floating platforms and flexible shelving mean you can rearrange this sumptuous sofa into any number of stylish configurations in seconds - even a heavenly guest bed for two. Jasper really is the one sofa designed for comfort on every occasion.

If you are a professional interior designer, architect or stylist, we encourage you to join the King Living Member Trade Program which offers you savings year-round on King Living designs.

Apply online today.

KINGLIVING.COM

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practice—Woods Bagot | project—West Hotel location—Sydney, Australia | text—Gillian Serisier photography—Felix Forest

Faceted Centred on an eightstorey atrium of rich plantings, Woods Bagot’s West Hotel posits biophilic design in an inner city oasis.

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Within the striking lines of Fitzpatrick + Partners’ geometric architecture resides an echo of line, form and connectivity. Hemmed in, rather than on the edge as most of our hotels tend to be, the site’s view is canyoned and city centric, and it is this aspect that Wood’s Bagot’s design has superbly exploited.

Featuring outwards angled windows, the guest room experience is one of leaning into space, rendering the connection to the city palpable.

Concurrently, the interior view is cloistered to a deep cool green atrium spanning the entire eight floors.

Open to both sun and rain, a key aspect of this space is the shifts in air quality as the plants respond to the elements. “Contact with nature is both a basic human and universal need… Biophilic design, which integrates architecture and nature – in this instance, urban nature – is increasingly supported by research findings on its well-being benefits,” says Dominic Alvaro, global design leader, Woods Bagot.

The atrium itself is all about the vertical with the architecture and plantings the unabashed centre of visual attention. The seating and tables are simple.

Brick ends, left over from the feature wall, are used to create low walls that shape and lend a slight formality of horizontal line. The shift is perhaps imperceptible, but the temperature changes, the air is cooler and the cocooning influence of nature makes this a lovely heart to the hotel. “As it is open to the elements, sunshine streams into the courtyard on a sunny day. When it rains, faint scents of the plants emanate and you can smell nature,” says Jacqui Senior, hotel sector leader, Woods Bagot Sydney.

Landscaped by Sturt Noble, the courtyard is filled with mature trees, saplings, ground covers and climbing plants that will wend their way up towards the light. In shades of deep green and purple the plants’ visual aesthetic marries well to the deep bronze tones of the void’s geometric panels and glass. Moreover, those deep tones lend a sense of depth and richness to the plantings and offer a cool respite from the city. At ground level, from the street, this oasis is suggested. From within, everything is designed as a visual push towards this centre.

“Biophilic design, which integrates architecture and nature – in this instance, urban nature – is increasingly supported by research findings on its well-being benefits.”

DOMINIC ALVA RO

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previous—Fluted walls, strong colours and an exceptional floor give the restaurant gravitas and light in equal measure. above—Curved cabinetry and a mirror detail signal the rooms’ bespoke quality

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below—Texturally rich, the wall panels introduce a strong geometry, while the parquetry’s echo is subtle and luxurious. The bespoke carpet is simply fabulous

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The eye is led by beauty and, in this case, it is the floor that compels the gaze. Undeniably handsome, the hand-laid geometric lines of marble in deep forest green, heavily striated green and white, white and striated grey form 'V' repetitions within the diamond negative spaces of broad black marble cross hatching (Deemah). “It was very important that the architecture and the interior design of the hotel spoke to each other,” says Senior. “For a strong visual relationship between the two, we used the hotel’s dynamic façade as inspiration for a number of details within the interior spaces. First and foremost, we mapped the diamond-like geometry of the exterior onto the internal flooring of the entrance and restaurant.”

Arranged to shift tonally from light to dark as the floor becomes proximal, the gaze is directed inwards towards the bar and atrium. The bar is another masterstroke of keyed impact. Comprising a monolithic expanse of bright mid emerald terrazzo, the form is angled outwards at midline, and finished with brass detailing (Architectural Stone and Wood, fabricated by UTJ Interiors).

Plum cabinetry and chocolate leather banquettes create strong horizontals, while chairs and lounges in aqua and plum velvet reinforce the sense of light at the perimeter.

The foyer floor has the same geometric arrangement of line used in the restaurant and bar. Here, it is executed in five timber species with a materially softer finish, but similar dynamism (Top Knot Carpentry and Joinery). A large cloudlike bespoke feature light installation hovers overhead (Di Emme Creative Solutions), while a wall of charcoal brick again takes up repetitions of geometric form. Battened balustrades and partitions continue this theme with a subtle play of light rendering the geometric lines more overtly connected to the architecture. A minimal reception counter is backed by a wall of hand-painted Turkish tiles, with the first of the florals referenced used throughout (Di Hoath with Di Emme).

As the hotel proper is entered, however, it is the flooring that again captivates. Bespoke and exceedingly plush, the carpeting is inset to floor level, to visually read as rugs, while offering the tripfree grace of carpeting (Modieus). Featuring a large stylised floral motif, the lift lobby iteration in rich blue wool with the pattern in silk is carved to give nuanced depth to the ever so slight shimmer. It is a very nice touch of luxury without ostentation, as are the bottle green feature wall lights used throughout (Float, Articolo Lighting). Functional lighting is without visual intrusion and a very good solution for hospitality (Point of View).

The carpeting continues to be the hero for both public and private spaces within the hotel. The conference room, for example, has a similar, but much

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below—Elegantly proportioned, the suites make a sharp departure from typical inner city accomodations

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opposite—Float wall lamps, (Articolo Lighting) and the bespoke bar of green terrazzo introduces the rich plantings of the atrium. below—An enfilade of fins creates a series of nooks, while the whole room shifts from streetscape to internal atrium

larger version of the lift lobby pattern, with the motif expanded to blossom like wall panels. The corridor carpets are tighter and brighter, with these coloured renditions introducing red and orange in patterns that compact for long reaches and swell out as the floor plane shifts. Within the rooms the role of colour to lead the eye is again played out with the base colour shifting from green to blue as the carpet nears the window, while the motif in soft grey (a robust stylisation of a waratah-like flower) shifts from solid to dashed to mottled. For the suites, the carpet is set into a floor of timber parquetry (Havwoods).

Walnut and brass detailing lend the rooms a feeling of luxe, as does the very good quality bedding and linen. Framed and glazed walls separate spaces within the suites and provide

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a visual connection to the incredible outwardly angled geometric windows. The bathrooms are well-considered in terms of spatial arrangement with room for a bath in the suites (Caroma). All are finished in natural stone, smoked glass and highquality fixtures (Rogerseller and Reece).

The grace of Woods Bagot’s design lies in its being an authentic response to the architecture.

Geometric line is shifted from exterior to interior through materiality and colour, while light and directive compel the gaze to likewise move from outer to inner. Moreover, it is the bones of this project that hold significance, meaning that as wear and tear, and even fashion, require shifts in furniture and room detail, the flooring and, in particular, the marvellous marble parquetry, will remain steadfast.

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P ROJECT

practice—Mim Design | project—AAP residence location—Melbourne, Australia | text— Jan Henderson | photography—Sharyn Cairns

Smooth as silk

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Walking through AAP residence is like wearing the finest silk dress. It’s smooth, luxurious and makes you feel fabulous. This is a quintessential Mim Design project with creative director Emma Mahlook creating an interior rich in style that translates to pure and simple elegance.

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As a contemporary home for a family of four, AAP residence proudly showcases authenticity at the heart of its design. With a restrained palette in both colour and materials, the overarching idea of this interior is a fine use of space and flow, incorporating timber, stone, concrete and accents of metal that transport the design into a class of its own.

As a new build, the clients were able to include all requirement within the large footprint of the land, and there are clever and practical design ideas such as a hidden study, a garage that can be converted into a party area and a separate children’s sanctuary with space enough for a multitude of visiting friends.

From the exterior, AAP residence presents a cool and crisp Modernist façade. Situated on a sloping block, steps lead up one level to a monumental front door and entry vestibule that opens onto the formal entertaining lounge and spiral staircase on one side and the powder room, master bedroom suite and stairs to the basement on the other. Flooring is light grey timber, laid on the horizontal (not the vertical), which abuts mid-grey honed stone tiles (Elegant Grey, CDK Stone) and the materiality is tasteful and sophisticated, a precursor to the design of the interior throughout.

The formal living area is expansive and grand with double-height windows that frame the view of the trees in the front garden and bring natural light into the room. Materials of timber and stone complement the bespoke cabinetry that includes a fine bar and a hidden television. One of many beautiful rugs that have been used throughout the house (Behruz Studio) sits perfectly beneath the furniture grouping of elongated Paul sofa (Molteni, Hub Furniture) and plush Maggiolina chairs (Zanotta, CULT), and delineates the area with swathes of muted light and dark greys, white and black that encapsulates the colour palette.

Edging towards the corner of this room is a showstopping staircase that ascends to the upper level as a corkscrew of gleaming white polished plaster. It is impressive and an eye-catching inclusion, which is both functional and elegant. The carpeted master bedroom (Langhorne, Victoria Carpets) with en suite and his and hers dressing rooms is simple and discreet – a private haven tucked away from the public areas at the entrance. The powder room is positioned off a landing at the side of the master bedroom and is a seductively designed amenity that personifies glamour with dark grey honed stone vanity (Pietra Grigio, Signorino), custom joinery, mirrors and a feature circular wall sconce (Mim Design).

Further on, another staircase with polished plaster walls leads down to the guest bedroom and en suite, cellar, bespoke gym and garage.

The heart of the interior and the main living areas are accessed from the entrance by a wide corridor flanked on one side with a wall of Viridian glass and on the other by the facilities.

The glass provides unfettered visibility across the outdoor landscape of in-ground swimming pool and entertaining pavilion with kitchen and dining ensemble and dissolves the barriers between the exterior and interior, providing a true indoor/outdoor

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previous—Located on the first level, the study is expansive and comfortable and showcases the juxtaposition of materiality that has been used throughout the house. above—The focal point of the kitchen is the honed Michelangelo Calacatta marble island bench with geometric detail that echoes the shape of the bulkhead above. opposite—Dramatic inserts of colour have been included through the artwork that complements the space and form of the home

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AAP residence is an elegant and refined home that features an expert selection of furnishings and an exceptional use of materials.

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sensory experience. The workings of the home are closeted away behind a timber wall and comprise the laundry, butler’s pantry and a study nook that leads to the back of the kitchen. Partitioning off the utility areas ensures complete privacy from passing guests and promotes connectivity to each space, as one room leads to another and there are no doors.

Conveniently, a lift has been positioned at the side and provides easy access to the basement.

At the rear of the footprint of the home is the living and entertaining area with an open plan kitchen, dining and family room that is pared back elegance at its best. Black powder-coated sheet metal has been used in the kitchen cabinetry and sits well beside the light grey timber cupboards and white veined marble splashback; however, the focal point is a honed marble island bench (Michelangelo Calacatta), with geometric detail that echoes the shape of an overhead bulkhead. The juxtaposition of the bulkhead and the ceiling is brilliant and helps cocoon the kitchen area, minimising the void-like space to create a certain intimacy.

Beyond the kitchen is the dining room with table and 10 chairs that are complemented by a bespoke pendant light with circular motif (designed by Mim Design) that floats overhead. The pendant is stunning in its simplicity yet appropriately dramatic and it carries through the geometric and circular motifs that have been incorporated elsewhere into the interior.

As the bulkhead sweeps across the ceiling and then diminishes in size towards the back of the family room the natural concrete of the underside of the floor above is fully revealed. As with all materials in this house the concrete of the ceiling coupled with the timber floor showcases a raw and restrained palette; however, it is the sheer size of this area that is breathtaking. The enormous ceiling height coupled with the elegant furniture setting of large comfortable Turner sofa (Molteni, Hub Furniture), Husk chair and ottoman (Space) and another exquisite rug results in a sublime effect. This is a sensational space in which to relax and entertain and it has been masterfully curated.

From the public and family spaces on the ground floor, the upstairs is primarily a children’s retreat accessed by the spiral staircase. This area is carpeted (Langhorne, Victoria Carpets) and there are two bedrooms each with en suite and a large living/entertaining area just beyond the landing.

Beyond this is a generous-sized study that has been hidden behind timber panelling and glass-backed shelving, complete with a door concealed within the panelled wall.

AAP residence is an elegant and refined home that features an expert selection of furnishings and an exceptional use of materials. Each design decision has been thoughtfully and correctly resolved, from the smallest detail in a wall sconce to the inclusion of the dazzling spiral staircase. It is a home to be lived in and enjoyed, but also admired for its beauty and practicality. AAP residence is indeed as smooth as silk, a fine vestment in which to clothe family life, and it is another outstanding project from Mim Design.

above—The sensational white polished plaster spiral staircase gleams in the natural light and has been perfectly placed in the void-like space of the formal living room

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practice—Chenchow Little | project—BresicWhitney Rosebery | location—Rosebery, NSW, Australia | text—Gillian Serisier | photography—Ben Hosking

An economy of moves

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inside co-editor Gillian Serisier sets her foot on the stage, as Chenchow Little’s latest office, for real estate brand BresicWhitney once again challenges the commercial sector with an interior like no other.

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previous—Furniture used in the older portion, deliberately floats to emphasise a feeling of weightlessness. below—tonally harmonised to the old, vast expanses of stone emphasise the contemporary nature of the new extension

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previous left—Careful placement ensures the curtain tracks don’t touch any part of the Heritage volume. previous right—A centrally placed reception counter gives the two entries equal status. left—Painted areas of floor define the interior space within the pods, while circular light fittings reiterate form

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Dramatic, theatrical, sumptuous, functional and to both budget and Heritage restrictions, this project sees Chenchow Little continue to explode conservative notions of what a commercial office should be. Importantly, it has done this with elegance, requiring none of the geegaws of outthere nonsensical response. Rather, the solution is befitting the environment and use, while being, as BresicWhitney director Shannan Whitney states, “a lovely place to work”.

Housed in an industrial warehouse in Rosebery, the project brief was typically loose and a continuation of the approach BresicWhitney has taken with Chenchow Little. Several years ago when Shannan Whitney first approached the practice, the fact that it then had little commercial experience was exactly what he was looking for. As project lead Joshua Mulford explains, “He wanted, a fresh different take on the office, to bring in the level of detailing and craft we would normally apply to a house. What he really didn’t want was a duplicable and repeated brand interior.”

Chenchow Little’s response to the four iterations – Darlinghurst, Hunters Hill, Balmain and now Rosebery – has been driven by a unique and specific response to the real estate perspective of the area. As such, Darlinghurst has an edgy quality of grunge, Hunter’s Hill uses a more refined material palette and Balmain is an amalgam of simple and aspirational. The Rosebery office similarly echoes the suburb’s current profile as one of Sydney’s first model industrial suburbs, with factories and warehouses slowly being converted into commercial tenancies and apartments. “It’s an upcoming young professional suburb, quite relaxed in terms of approach and aesthetic,” says Mulford.

Several additional elements informed the design approach – chief among these was the Heritage constraints for two of the interior walls and the large overhead trusses. Site was also an influencer, with the front of the building being the entrance least likely to be used. Compounding these issues was a sharp turn-around of four months and a small budget. The design also had to accommodate 25 staff.

Chenchow Little’s response has been to create a stage-like setting of velvet curtains forming pods that, as Mulford says, “Float like jellyfish through the space.” The pods have been arranged as two curves to create a waving negative space across the floor’s diagonal. The reception counter has been placed at the centre of this void to effectively afford both front and rear access equal status. With the rear entrance comprising both a Heritage wall and ugly old roller door, Chenchow Little proposed filling the lower portion of the roller door cavity with a short wall of original bricks found on-site, to create a window. The void was then finished with a pink trim to match the most immediate of the pods.

The pods themselves are sublime. Executed in Velluti velvet (James Dunlop) in shades drawn from the building’s era – olive green, dusty pink and indigo – the pods’ presence shifts dramatically.

“We chose the colours to suit the look of the turn of the century building in a contemporary way. The three colours work together as a family of layers, where in combination they are the strongest,” says

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above left—The pink meeting pod is further defined by bespoke circular seating. above right—The dramatic Velluti velvet in indigo (James Dunlop) provides a totally gorgeous conference room

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“The three colours work together as a family of layers, where in combination they are the strongest.”

JOSHUA MULFORD

Mulford. In the closed position each reads as a strong vertical; however, as they are opened, the spatial arrangement becomes less formal and more permeable as the interior is revealed. The six pods – comprising three working pods in olive green, two meeting rooms in dusty pink and one conference room in indigo – are of different sizes and lengths.

The only iteration to reach the floor is the conference room, which, as the more formal of the pods, has been given the extra length for acoustic properties. That said, the velvet, while thick and weighty and giving some sound absorption, was never heralded as soundproof, but instead posits a simple spatial division and theatrical aesthetic. The remaining pods stop just above the floor, casting dramatic shadows when drawn and fabulous zigzags when the ‘s’ fold drape is extended. The pods also answer Heritage concerns that the walls and trusses remain unscathed. “None of the circles touch the walls and the tracks are all suspended to avoid the tresses; it was like a game of Jenga, where you come close but never touch,” says Mulford (Simple Studio).

The floor was very much a record of the site’s extensive history and as such a palimpsest of different eras and industrial uses manifest as different pours of concrete and terrazzo without much rhyme or reason. There were also height variations. Keeping to the budget and time constraints was an important factor, as was keeping the character of the industrial building. The whole floor was ground to a single flat surface and sealed with a natural finish, while the circular motif of the pods was then painted below each space using a

microfilm industrial paint for minimal intervention.

This very flat industrial paint, while compounding the colour blocking effect, also negates the slight bling of velvet.

The birch ply joinery throughout the project (JP Finsbury) is similarly a counter to the velvet.

Executed as very simple lines, where the materiality is brought to the fore, each piece in some way is marked by a circle. For the lockers, it is the opening device; on the long communal desks, notches delineate workstations; while other manifestations are the curve of the piece itself. Lighting is similarly round with Multiline Sferio pendants (Euroluce) within the pods customised with powder-coated frames to strengthen the effect of colour blocking.

The entrance Teti light (Artemide) is a particular favourite. The entrances themselves are marked by circular motifs or launch pads of pink that contain as a neat circle for one and lap up the walls like a tray at the other. Circles are in fact everywhere, and while the roundness of the Artek tables and stools (Anibou) are a given, the fatly round lounge chairs are a delightful inclusion (Moroso Panna armchair, Hub).

More than a fabulous aesthetic, the interior is very well-considered for both staff and clients. The pods are gorgeously cosy from within and a visual tour de force for impressing clients. They also answer both sides of the open plan/traditional office debate with segmented lengths that allow each worker to choose how and when they interact with the office.

But, mostly, it is the total magnificence of the pink, indigo and green curtains that makes this simple solution so very, very impressive.

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practice—Shaun Lockyer Architects (SLa) | project—Sorrel Street house | location—Brisbane, Australia | text—Michelle Bailey | photography—Scott Burrows

P ROJECT

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Michelle Bailey explores a grand new project by Shaun Lockyer Architects that has transformed an old Queenslander from a small timber cottage into an expansive family home where there is room to entertain family and friends in contemporary comfort.

Queensland contemporary

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It is not unusual for a family to settle in a place they love, to put down roots and stay for years, but the progressive connections Antun and Carmel Cule have fostered on this hilly street in Paddington, Brisbane is something quite remarkable. Twenty years ago, they moved into a cottage on the same street, up the hill, before they purchased two doors down. Then they moved next door, before finally securing this Queenslander on a double block from a friend a few years ago.

Knowing it was to be the site of their forever home, they sought an architectural solution, engaging architect, Shaun Lockyer, principal of Shaun Lockyer Architects (SLa), to design alterations and additions to the original house and committing to building it themselves through their business, Cule Constructions.

The Paddington Queenslander held much promise, the century-old timber cottage exemplifying the graceful, historic character of the suburb. Furthermore, the position of the cottage on the site, close to the street and side boundary, meant minimal corrective surgery was required to allow contemporary additions to sit comfortably beside it and extended from the back. “We managed to keep the scale, size, form and character of the Queenslander, so history could continue to reflect an honest story of the old and new,” Lockyer says. “The height of the cottage retains its original relationship with the land, rather than becoming high set, enabling a contemporary expression to develop next door.”

The siting of the house on the hillside was ripe for inscribing a discreet approach into the cottage underbelly and facilitating the fluid ascent to the elevated, primary level of the house via a new internalised staircase. The journey from the front door to main living level is a showcase of the contemporary building palette, describing blonde brick, off-form concrete, steel plate and solid oak. Layered upon these are choreographed moments of sunlight, fuelled by skylights and clerestory glazing. Spatial generosity abounds with contemporary spaces contained by the solid mass of smooth concrete walls punctuating an otherwise unfurling plan.

The journey from the front door to main living level is a showcase of the contemporary building palette, describing blonde brick, off-form concrete, steel plate and solid oak.

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previous—Natural light and the oudoor landscape are celebrated by opening up the back for views of the suburb beyond. above—The journey from the front door to the main living level showcases a diverse material palette that includes blonde brick, steel plate and solid oak. opposite—The open plan kitchen provides spaces large and small in which to relax

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below—A leather-topped bench seat has been included in the open plan living and dining area and allows for individual relaxation and a fine aspect of the outside landscape

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below—The kitchen is the hub of the home and is the meeting place for family and friends. opposite—The interior of Sorrel Street house is expansive with a subdued colour palette and timeless and appropriate furnishings

Key to the arrangement of rooms is the ordering of small and large spaces to the southern and northern sides of the site respectively. The southern enfilade of bedrooms begins at the street, starting with the master bedroom, steadily soldiering its way to the back fence accommodating another bedroom, ancillary rooms and spaces of the teenagers’ retreat. On the opposite northern edge, rooms are expansive, each designed for casual occupation and accommodating larger groups. The generous spaces of the lounge room appropriate suburban views to the north-east, at the same time connecting to the level courtyard via the outdoor room.

Disrupting the neat dissection of the building’s southern and northern edges and nestled at the centre is the kitchen. Ink black cabinetry strengthens the idea that this room is a negative space, as long walls sink into shadowy recesses, top-lit by a glazed ceiling. As well as providing the tonal contrast to concrete and brick, dark surfaces subvert the prominence of this space, downplaying its functional demands. More than an area for food preparation, porcelain benches become places to touch down and regroup, with the leather-topped bench-seat opposite fashioning a place of repose.

Separated by sliding glass walls, the kitchen opens to an outdoor room with a level threshold between these obscuring the line of enclosure. The treatment of the edge transforms the transient nature of the kitchen, helping it to become a space serving multiple eating zones. “Our immediate family is about 40 people, but gathering here is really very easy,” says Carmel Cule. “When all the doors stack back we can configure the tables and extend them out to the courtyard.” The stackable walls also allow seasonal change to be tempered. For the few months of the year that the subtropical climate is rendered too cold for outdoor dining, the family retreats to the dining room inside.

The ultimate spaces of refuge, the master bedroom, robe and en suite, retreat inside the cellular spaces of the original four-roomed Queenslander.

The building’s historic past remains legible through the delicate filigree of timber door panels above bedroom thresholds. Inside the en suite and bathrooms, aged brass taps pay homage to the original home and the historic pyramid roof is celebrated volumetrically with new voids puncturing through to reveal views to the sky.

Settling on this hillside represents decades of musing upon the ultimate family lifestyle, the results of which are tested and proven here. Through the thoughtful juxtaposition of old and new, the architecture dutifully manages the transition from modest cottage to sprawling, complex family home.

Credit is due to the Cules and their construction team for the craftsmanship that has resulted in the faultless finish to concrete, masonry, steel and timber surfaces. Equally impressive are the many thoughtfully considered overlays including artwork, lighting and furniture, which are as enviable as they are sophisticated and which make this impressive house a beguiling home.

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Through the thoughtful juxtaposition of old and new, the architecture dutifully manages the transition from modest cottage to sprawling, complex family home.

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P ROJECT

practice—Liminal Studio | project—Freycinet Lodge | location—Freycinet National Park, Coles Bay, Tasmania, Australia | text—Jan Henderson | photography—Dianna Snape

Natural wonder

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A new hospitality project in Tasmania from Liminal Studio is a revelation in both beauty and site specific design for the Apple Isle. inside co-editor Jan Henderson discovers a world where nature and luxury co-exist and the result is simply beautiful.

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Beauty, as they say, is in the eye of the beholder; however, any visitor to Freycinet Lodge, located in the Freycinet National Park on the east coast of Tasmania, knows what real beauty can be.

It is nature at her best with spectacular rocky landscapes, abundant wildlife and endless blue sky combining to present a spectacular wilderness. Add to this extraordinary location bespoke and luxurious accommodation purpose-designed to complement the surroundings and then perhaps this is heaven?

The project brief from RACT Destinations (Royal Automobile Club of Tasmania) was to design and deliver nine new accommodation pavilions that would expand the offering of Freycinet Lodge and create a point of difference to the existing 60 cabins already on-site. The commission was awarded to local multidisciplinary architecture and design practice Liminal Studio with joint directors Peta Heffernan and Elvio Brianese leading the project. For this commission Liminal has reinvented luxury accommodation ‘Freycinet style’, delivering an outstanding and inspirational design that is sympathetic to its surrounds yet creatively robust to make a spectacular design statement.

Liminal has been making a name for itself not only in Tasmania, but around the world with its eclectic portfolio of completed commissions that range from public, institutional and residential through to theatre and installation projects. And so it was perfectly placed, as the architecture and design practice of choice, to sensitively interpret this important brief.

On first viewing from afar, the pavilions appear as a new species of vegetation nestled within the craggy stone outcrops of their waterfront location.

And, as the curved double-glazed windows absorb and reflect the sun, water and earth, the pods simply merge into the surrounding landscape. On closer inspection, the elegant curves of the structures take on a presence of their own and, in keeping with the landscape, the undulations within the architecture appear to imitate the silhouette of the surrounding coastal granite formations.

The exterior cladding of durable hardwood has been charred, Shou Sugi Ban style, not only to preserve the timber against the elements and ‘ember proof’ the structures, but also to blend with the vegetation. Once inside, however, the splendid appointment of facilities, furnishings and fittings confirm that this is indeed a five-star accommodation offering without peer.

The footprint of each pavilion is a C-shape with outside deck and open-air bathtub placed within the hollow. Tasmanian timbers are the star material and have been used almost exclusively throughout.

Off-cuts of Tasmanian oak, blackwood and locally manufactured plywood clad the walls, ceilings and floors, and the rich colour variations of the timbers exude warmth and add texture.

A timber-clad corridor joins the two rounded ends that contain the sleeping quarters on one side and the entertaining space and stunning black

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previous—Overview of the corridor, which features differing thicknesses of stained Tasmanian oak that clads the walls and adds texture and warmth. above—The pavilions are at home within the landscape and the curved glass walls imitate the surrounding coastal granite formations

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With deference to location Tasmanian products, manufacturers, builders and workers were employed throughout the process and the project can truly be called a Tasmanian venture.

left—The bathroom includes cabinetry of blackwood veneer that contains all amenity and ensures there is minimal clutter on benchtops. opposite—Customdesigned furnishings by Liminal Studio include the stunning Pebble sofa suite that can be reconfigured to suit every occasion and an occasional table with a beautiful woven basket at the side designed by Vicki West

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The budget for this project was modest but, with careful and creative design, Liminal has achieved a million-dollar result.

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stone tiled bathroom at the other. Cabinetry of blackwood veneer is discreet with all amenity, such as the music system and bathroom accoutrements, hidden behind doors to ensure there is minimal clutter and a smooth open flow to the interior.

Furnishings have been custom designed by Liminal and manufactured in Tasmania, and the Pebble sofa suite and accompanying side tables and stools sit perfectly within the space – the forms referencing the curves of the landscape and the architecture. The sofa suite consists of a chaise, a single seat and an ottoman, and the pieces can be reconfigured to suit every occasion. Special mention must be given to the occasional table in the honeymoon pavilion, which is a collaboration between Liminal and Vicki West, a local Indigenous artist, and incorporates a very beautiful woven basket at the side of the table top.

Wherever possible Liminal has ensured that the positioning of the pods and each of the ‘rooms’ within the structures takes full advantage of the outstanding views. The undulating glass walls guarantee that the exterior landscape is framed and captured at every turn to exploit the experience of living within the natural environment. Block out and semi-sheer curtaining have also been included in the bedroom to dull the light when required, and a lovely addition to the outside deck is the netted hammock-like balustrades that provide safety and the opportunity to relax in style.

The budget for this project was modest but, with careful and creative design, Liminal has achieved a million-dollar result. Using timber off-cuts, as opposed to continuous boards, was one solution in helping to stretch finances with no compromise to design. Challenges such as the differing thicknesses of the stained Tasmanian oak that clads the walls became a sensational textural inclusion and, to maximise light and complement the low-energy light fittings, a skylight was included at the heart of the pods. With deference to location Tasmanian products, manufacturers, builders and workers were employed throughout the process and the project can truly be called a Tasmanian venture.

In the design of the pavilions at Freycinet Lodge respect for the spiritual heritage of the location was paramount. The area was historically home to the Oyster Bay tribe and there is a deep connectivity with the land and, accordingly, consultation with Indigenous elders helped set the design agenda for the project. There was also a need for sensitivity when positioning the pavilions within the landscape and Liminal can proudly report that there was minimal disturbance throughout construction, no land was cleared and even the decks were built around the vegetation.

There is no doubt that the new pavilions at Freycinet Lodge will become a must-visit destination for overseas travellers, visitors from Australia’s mainland and the local population. The project is an excellent representation of thoughtful and creative design and Liminal has proved once again that it can deliver world-class, Australian-centric design that makes its mark.

above—The bedroom has been designed with luxury in mind and the curved glass walls afford outstanding views of the landscape and water

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P ROJECT

practice—Smart Design Studio | project—Manly apartment | location—Manly, NSW, Australia | text—Gillian Serisier | photography—Ross Honeysett

Australian Modernism

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inside co-editor Gillian Serisier takes a look at the sublime exploration of modernism that hallmarks Smart Design Studio’s latest apartment.

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The stark simplicity of Manly apartment, is, as we have come to expect of Smart Design Studio, a sleight of hand that belies the layers of detail and thinking that make this practice’s work so very, very exceptional. The way studio director, William Smart, works on a project is more about the existing bricks and what they have to say about a project’s form than most. In this case, the apartment was as basic as one would expect of a 1970s block with no previous renovations. The hero was and remains the view. Where Smart has excelled is in his ability to coax the layout’s string of cubes into a viable home of elegant and serene proportions. “We always want to design within the spirit of the building,” he says.

“For us this is a 1970s modernist building, so our work therefore has to be modernist and has to respect that era.”

To fulfil this vision, Smart has introduced a number of strategies. Chief among these is the subtle interweaving of a peeling form, with tucks and curves negating hard line edges while lending a softness to the whole. Joinery to this end is distinguished by inwardly rounded junctures that give the feeling of curving upwards. Regarding Smart’s approach it is interesting to note Ludwig Mies van der Rohe’s thoughts on form in architecture. In 1927 he said, “I do not oppose form, but only form as a goal.”

It is clear that Smart has a similar idea, with form positing a continuation of the conceptual premise rather than an expression of addition. The incredible three-metre cantilevered kitchen bench, for example, is a deliberate exploration of engineering and technology befitting the modernist era.

As Smart says, “To create the bench required a great deal of engineering, but in the spirit of modernism we wanted to embrace engineering and technology as much as possible.”

Miele appliances continue the sleek profile throughout the kitchen. And complementing this is an approach to materiality that Smart contextualises to location. “When you think about a van der Rohe interior there is the white ceiling, grey floor and highly figured walls,” he explains. “Our idea for the project was Australian modernism, with this Australian hardwood myrtle that is very figured and similarly book matched.” Flamed myrtle, despite being one of the least used and least expensive veneers available, is rich, opulent and absolutely beautiful. Many of the suppliers of this fabulous material recommend slip-matching over the bookmatched iteration used by Smart – in order “to avoid a striped ‘paling-fence’ effect,” according to one.

Won’t they be sorry! The van der Rohe white ceiling is a natural fit, as is the floor solution of inlaid expanses of either black or terracotta carpet that is sumptuously plush to the point of being a physical surprise. Elegant linen drapes (Homelife) contain and soften the whole.

Within these foundational concepts, the renovation pays respect to the structural expression with rooms being reconsidered as part of the whole, rather than cleared for a greenfield approach. As

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previous—A minimal material palette executed with perfection, note the ‘S’ form shadow line at top and bottom. above—A three-metre cantilevered kitchen bench defines the modernist exploration of materiality and engineering

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above—A pair of Arne Jacobsen lamps (Louis Poulsen CULT) give a playful nod to modernist design, while furniture is richly toned but without embellishment. opposite— Cabinetry forms a subtle enfilade that is paired by the floor’s tonal and material shifts from stone to terracotta, and grey and black carpet

“I do not oppose form, but only form as a goal.”

MIES VAN DER ROHN

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such, the master bedroom remains where it was, while the second bedroom opens to become part of the main living space (Flexform Eden sofa bed, Fanuli with Minotti Divo side table, dedece). Known for including secret doors and hidden rooms, Smart has designed this space so that it can be closed off from the main. There is a large sliding wall with access afforded through a concealed entry within the hallway panelling leading to the master bedroom.

In true Smart form, the closed iteration reads as naturally to the whole as the open version.

This is similarly true of the shifts in use within the entire space. The client was very specific about how they live, preferring to watch television than host dinner parties. The television was therefore not concealed, but rather given centre stage and outlined with a curving black frame that continues the peeling folding motif while providing the neat utility of somewhere to put the remote control.

The dining room was really just a name for the space’s previous use and, with the introduction of a grand piano, has shifted to become a music room.

That said, the whole has been completely refinished with walls, ceiling and floor all replaced. “There are very low ceilings, so part of the work is to balance that and for us that means absolute simplicity,” says Smart, of the abundance of white and introduction of a pelmet that effectively contains the whole in a single line. Moreover, the minimal colour palette allows the location its full due. “The starkness of white allows light to be the hero,” says Smart.

The bathroom is gloriously masculine and perfect for the client’s preferred lack of accoutrements.

With minimal storage, the bathroom exists as a series of unadorned expanses of charcoal smoked glass, concealed drainage and a free-standing bath (Kaldewei). Curves and batten detailing give a sense of drama without interfering with line. Again, it is Smart’s attention to detail that ensures the absolute symmetry of every tile and angle, and delivers the whole as an exercise in restraint.

Lighting and furniture continue the modernist approach with paired Jacobsen lamps (Louis Poulsen AJ standing lamps, Cult) and Bertoia stools being the most overt genre homages. More subtly, the tenets of modernism are delivered through an exploration of technology. Lighting for example, is realised as a floor-to-ceiling black stripe that transforms to a light source, while light is also tucked below the cabinets in the bedroom. Most impressive, however, are the structurally sublime vertical pendants that finish the cantilevered bench.

The flamed myrtle cabinetry is, exceptional and very much about the introduction of decoration through a materiality that is free from embellishment. Instead, there is an organic beauty to the material’s richness that adds depth and opulence without fuss. It is exceedingly handsome, as is the whole apartment. All of this says nothing of the view, which is one of the best panoramic outlooks in the area, taking in the whole of Manly Beach and the grand Pacific beyond.

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opposite—Book matched figured myrtle makes a striking feature, that enriches the whole with its beautiful materiality. above—Light filled and with massive ocean views, the curve of the piano is met by a continuation of the enfilade effect allowing the curtains to billow in sections

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FSA/AWS0141/02

Prevent falls, not freedom.

Aneeta Duomode. Bringing style to safety.

The Duomode sashless window’s patented locking system allows its large, frameless panes to be used as either a counterbalance window or a servery window. So you get the largest possible view, along with unmatched flexibility.

You also get peace of mind, because you can restrict the Duomode’s bottom opening to 125mm while the top pane remains fully operational. Live uninterrupted. aneetawindows.com

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INSIGHT

Nestled among the sprawling vines of the Willow Creek Vineyard on the Mornington Peninsula sits the ultimate in luxurious and glamorous experiences, the Jackalope Hotel. Named after the giant horned jackrabbit or antelope of North American folklore, and further realised in the form of a seven-metre tall sculpture at the entranceway by artist Emily Floyd, the landmark hotel has reimagined the role architecture, design, art and storytelling can play in creating a transformative guest experience.

Innovative hospitality projects, whether hotels, restaurants, bars or cafés, are maximising the importance of storytelling through design. Siteinspired integration, biophilic principles, the use of organic, sustainable materials and integrated technology to augment the user experience are at the forefront. More and more people are expecting personalised, genuine experiences, a connection to place and the utmost in luxury and well-being with all their senses engaged. Cue a signature scent dispersed on arrival.

Jackalope Hotel, winner of the 2017 IDEA Hospitality Award, owes its unique design to owner Louis Li, who envisioned an ambitious interplay of the ideal and the surreal. Engaging Carr Design Group and a heady mix of creative talent – including Fabio Ongarato Design, Pascale Gomes-McNabb, Taylor Cullity Lethlean and Jan Flook Lighting – resulted in a collaboration

Hospitality – where less is more luxe

text—Sarah Hetherington

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previous—Elementaire chair, Bouroullec Brothers for HAY, CULT. left—Jackalope Hotel, Carr Design Group. Image, Sharyn Cairns. Cyborg chair, Magis, CULT. right—Jackalope Hotel, Carr Design Group, Image, Sharyn Cairns. Custom large Christopher Boots Promethius III feature light. below—Madi chairs, Enzo tables, Sofi ottomans, Byte side tables and Hush lounges, Krost Business Furniture

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encompassing identity and environmental design, architecture and interiors, lighting, landscaping, furniture, commissioned artworks, accommodation and exceptional food and beverage offerings.

“Working with the best of the best from people to products, there was never one author or brainchild, we were all part of the process and its authenticity. There is nowhere else like it,” says Dan Cox, director of interior design at Carr Design Group. Describing the project as a juxtaposition of theatre that unfolds as a story, he applauds Fabio Ongarato Design for conceptualising the identity and theme of ‘alchemy’, while Pascale Gomes-McNabb set the tone for the restaurant and bar offerings.

McNabb’s selection of the furniture, which includes the Cyborg chair from Magis (CULT) was foundational to the overall feel and style of the two restaurants. An essential part of hospitality, furniture must be considered for scale, weight, functionality, materiality, form and longevity. For example, where on one hand a slim silhouette, such as the Coco barstool (CULT), may be called for, another application may require something more sumptuous like the Torre Da Vinci armchair

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(Café Culture + Insitu). Degrees of formality are also considerations, with a café style setting appropriate for one venue, but not another.

Alternatively, there is always the transitional option offered by products such as Madi chairs and Enzo table (Krost Business Furniture).

Clientele is also a consideration with the AP stools (Zenith) providing an architectural option that stack away neatly, making them a particularly lovely solution for limited space.

Lounge areas are increasingly taking on a residential feel with the beautiful mid-century style Oblique chairs (Prostoria, Stylecraft), recently used by Cox Howlett and Bailey Woodland for Aloft Perth. The versatility of the Zaza sofa (Charles Wilson, King Living) similarly answers this need for high levels of comfort within a beautiful presentation.

Hospitality must appeal to all the senses, with touch a paramount contributor. Indeed, the success of our first experience of a restaurant may be determined by the feel of a door’s weight and ease as we enter, and it is here that exceptional door hardware is paramount. Halliday + Baillie’s flush mounted pull handles for hinged, pivot,

sliding screens and cupboards are a means for introducing material.

The role of a good bathroom in hospitality also cannot be underestimated, from the taps and faucets to sanitary ware, shower roses and feel of the bath, each must be smooth and sure to the touch; while the shape, proportion and scale must all be perfect. Surfaces similarly must be tactile, beautiful, adding or reducing colour, pattern, shine and texture. Adding to the bathroom experience and removing the need for paper towels, bins and a stand-alone hand dryer is Dyson’s Airblade Tap, an all-in-one fitting that dries the hands once they are washed.

A key element in Jackalope’s success is the dynamic use of lighting and its effects. Created

by Jan Flook Lighting, both the theatrical, mesmerising installation in Doot Doot Doot Restaurant (referencing fermentation and bubbling) and the discreet lighting strip at guestroom entranceways (indicating to staff when to service the rooms) ultimately tell a narrative and create a journey. Bespoke lighting is increasingly a feature within hospitality, but so too are statement designs such as Ross Gardam’s

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left top—Dyson Airblade Wash + Dry. left bottom— AP stool designed by Shin Azumo for Lapalma explores a wooden origami form in moulded ply, available from Zenith. below—Inax Repeat Wave, ceramic tiles, and Agape Marsiglia bathtub, both Artedomus. Image, Derek Swalwell

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Polar light (Stylecraft), which Willis//Sheargold has used in The Collectionist Hotel in Sydney.

Bedside tables have taken a huge step up from the standard lamp arrangement with architectural options such as the Horizon table lamp (Humanscale) bringing gorgeous flooding light and style without clutter.

Hotels have become more than just places to take a holiday; they are now destinations in their own right, and with this comes a gamut of needs and desires from guests. Lobbies are to be warm and inviting, with public spaces designed for dynamic multipurpose areas – a meeting room for a business conversation, a bar for an after-work drink and a place to gather or work productively when away from home. Studio suites are also more luxurious with the quietness, efficiency and quality expected of Miele kitchen appliances now deriguer to the experience.

Surfaces play a key foundational role, setting the stage as it were, with products such as Artedomus’ Repeat Wave ceramic tiles offering a versatile, non-combustible and durable surface

of textural gravitas. Moreover, surfaces of quality announce luxury with stone options varying from the en pointe Norwegian Rose to the classic Calacatta Vagli (both Artedomus) signalling opulence without ostentation! A flooring of robust and beautiful materiality is also essential.

Jackson Clements Burrows’ recent use of Modern Edit (Shaw Contract) for the Mercedes Me store in Melbourne draws on the carpet’s reference to the textile industry to add depth and nuance to the project.

Hospitality, in the truest sense of the word, is to be friendly and welcoming to guests and visitors. No longer is the experience ‘just a place to sleep at night’, it is more, with the whole experience from touch, smell and Instagramability all part and parcel of the occasion. In the current digital era where guests are quick to review what is on offer, they expect incredible experiences, to be inspired and to escape reality; however, they must above all be comfortable in their surrounds and feel a strong sense of belonging and connection on a deeper level.

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left—Horizon table lamp, Humanscale. top—Oblique chair, from Croatian brand Prostoria, Stylecraft. bottom—Mercedes Me,

by Jackson Clements Burrows Architects, Edition Broadloom carpet in Eternal, Shaw Contract.

Image Peter Clarke

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FOLIO SHOW

Folio show ARREDORAMA CONNEX2 MANAGEMENT / CONFERENCE CHAIR Connex2 designed by Jörg Bernauer for Klöber Germany The Connex2 chair automatically puts users in dynamic positions, while setting new standards in management, meeting and conference furniture with its clear-cut design and perfect craftsmanship.

High-quality materials and a simple operation concept: this is Connex2, the Klöber chair that allows users to move intelligently.

The design is unique and uncomplicated thanks to its fully-automated function response.

It features just three settings for complete adjustment and a three-dimensional seat movement that supports the natural impulse to move. arredorama.com.au

ILVE Black Glass Gas Cooktop ILVE’s latest elegant and stylish black glass, gas cooktop collection is a dream for the passionate home cook. Evolving from the traditional stainless steel, ILVE’s latest black glass range is bringing the future of design into the kitchen. RRP: From $1299 ilve.com.au

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Cult PH5 pendant light Designed by Poul Henningsen for Louis Poulsen in 1958, the PH5 is an iconic pendant light that is equally at home in a residential interior or a commercial project. Synonymous with classic and timeless style, the pendant boasts a 50-centimetre diameter and, irrespective of how the light is installed or the light source used, remains completely glare free. Over the years the PH5 has been updated in step with contemporary living with a high gloss version introduced in 2008 to mark the 50th anniversary of the design and four new matte colours introduced in 2013. cultdesign.com.au

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Interstudio Butterfly lounge classic The Butterfly lounge classic is rooted in the Nordic design tradition, based on the same shell as the other members of the Butterfly family with a traditional retro inspired frame. The low height and wide seat gives the chair exceptional comfort with the simple and beautiful design. Butterfly lounge classic is available in two seat heights, 390mm and 430mm, with a variety of upholstery options. interstudio.com.au

King Living King Boulevard The King Living Trade and Commercial division caters to the unique demands of architecture and design communities in Australia and overseas.

Registered architects, interior architects, interior designers, specifiers and procurement officers now have a central point of contact to discuss and manage commercial projects. As a King Living Trade and Commercial member, you’ll enjoy special buying privileges, including competitive pricing and expert advice to help you service your clients better. kingliving.com.au

Zip The Smart and Stylish Kitchen Essential The latest innovation in Zip Water’s HydroTap range is the Zip HydroTap Celsius AllIn-One Arc – the ultimate in design and functionality. This smart system offers instant filtered boiling, chilled and sparkling drinking water, plus unfiltered hot and cold water all wrapped up in a single and stylish HydroTap. A source of design inspiration and wellness, available in 12 contemporary finishes, the Zip HydroTap Celsius All-In-One Arc complements any kitchen or office and provides great tasting water every time. zipwater.com

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S POTLIGHT

right—Joe Colombo’s Chair 300 designed in 1965. Image courtesy of CULT

CULT

Karakter at CULT For the past 21 years CULT has forged a reputation as a supplier of outstanding furniture, lighting and object collections to a discerning market of Australian architects and designers. Coupled with its outstanding service throughout Australia and New Zealand, CULT’s offering remains the crème de la crème of product design, with some 34 brands that include Cappellini, Carl Hansen + Son, Friꜩ Hansen, Hay, Lightyears, &tradition, Louis Poulsen, Gubi and Magis and lately the outstanding new collection, NAU, which presents the very best in Australian design.

CULT’s brands and collections showcase exemplary products that are iconic, innovative and authentic.

To reinforce this commitment to fine design Karakter has now joined the fold and is available in Australia.

Established in 2008, Karakter is a Danish brand, the collection of which encapsulates the very best in design from some of the world’s most prestigious designers. What differentiates Karakter from other brands is the depth of its product range, which spans furniture, lighting and

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objects designed in the 1950s through to 2018. Each product has been chosen for its simple perfection, impeccable design resolution and archetypal style, and the collection as a whole is an outstanding showcase of some of the very best products ever produced. As a collection Karakter is in a league of its own, presenting iconic pieces that are timeless in their tone and appeal.

With a range of some 17 products, Karakter showcases a multiplicity of products that range from chairs, stools and tables through to standard lights and lamps, vases and objets. As an example, Bodil Kjær’s Office desk is as fresh and relevant today as it was on the day of creation in 1959, as is Paul McCobb’s Occasional table (1950).

Both are perfect examples of product designs that have stood the test of time to become icons of the modern era.

Or perhaps Joe Colombo’s Chair 300 (1965), a trend setting design that complements today’s interior vision for the home or office. Lungangolo

by Achille Castiglioni (1991) is a masterpiece of contemporary creativity, a statement piece that inhabits a space yet floats within it,

while Aldo Bakker’s No.One dining table (2018) sits as if a modern sculpture, becoming an inspiring addition to any room. Awkward light

by Anatomy Design (2012) is cool and modern with its elongated arms and clean lines, while Mahogany stool by Aldo Bakker (2017) is material, form and function at its best.

Other designers whose work is included in the Karakter collection are Gijs Bakker, Angelo Mangiarotti, Pier Giacomo Castiglioni, PlueerSmitt, Milia Seyppel, Guillaume Delvigne, Derek McLeod and Joy Charbonneau, Nick Ross and Laura StraBer. Karakter is without peer as a finely curated collection of furniture that is in tune with today’s specifiers and lovers of fine design. CULT has once again anticipated the desires of its clientele with this new brand that ticks all the boxes for impressive design. Karakter is now available at all CULT showrooms located in Sydney, Melbourne, Brisbane and Auckland and through distributors in Canberra, Adelaide and Perth, and is an excellent addition to an already superior product offering.

cultdesign.com.au

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GLASS LQ LWV ¿QHVW IRUP

Inspired by the classic and renowned beauty of Italian glass making, Austral Bricks presents Poesia designer glass bricks.

0DGH LQ 5HVDQD ,WDO\ 3RHVLD UHSUHVHQWV WKH YHU\ ¿QHVW 0XUDQR JODVV PDNLQJ WHFKQLTXHV 7KLV PDJQL¿FHQW FROOHFWLRQ IHDWXUHV ¿YH VXSHUE FRORXUV GHVLJQHG WR DFFHQW UHÀHFW DQG KLJKOLJKW DQ\ GHVLJQ &KRRVH IURP FOHDU $UFWLF &U\VWDO WKH FRRO EOXHV RI $TXDPDULQH DQG %OXH 6DSSKLUH WKH ZDUPWK RI *ROGHQ $PEHU RU WKH PRRG VHWWLQJ 6PRNH\ 4XDUW] 7KH QHZ Poesia glass brick collection from Austral Bricks brings a new vision of design thinking to residential and commercial spaces.

australbricks.com.au | 13-2742

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S POTLIGHT

A RTEDOMUS

Mutina Déchirer XL by Patricia Urquiola Designed by Patricia Urquiola, the intricate surface of Déchirer XL comes from the idea of creating a surface inspired by the opacity of concrete while preserving the identity of ceramics.

“Déchirer is the beauty of being able to risk and not wanting to follow any rules. It’s the beauty of breathing air and interpreting it the way we want. We hope this goes beyond current trends. It also serves as a sort of abacus that may appeal to the

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sensitivity of the designers who use it, playing around with neutral shades, decorations and light, to create a personal vision,” says Patricia Urquiola.

As she explains, the Déchirer XL collection breaks from trends and set contexts to deliver a distinctive surface that is both robust and elegant. Uniting technology, craft, experimentation and research, the Mutina Déchirer XL range pushes material boundaries to deliver a product of unique beauty and exceptional quality. The range is internationally recognised with numerous awards for its innovative approach, creativity and achievements within the field of ceramic tiles.

This collaboration with Urquiola has resulted in an extraordinary collection that reflects the passion of her work: art, good design, architecture, product approach and a unique take on life.

Déchirer, meaning ‘to tear’, is literally realised as the very slight profile shifts delivering traces of

pattern, as though fabric fragments have been joined as a single design.

This has been made possible by the development of a major innovation in the field of ceramic coatings, whereby, for the first time, a relief can be achieved that is barely perceptible.

At just three millimetres thick, this very lightweight panel (eight kilograms per square metre) is perfect for use on internal and external vertical surfaces. The popularity of the design has culminated in the release of the Déchirer XL panels (100 by 300 centimetres), which are exclusive to Artedomus and available in three colours: Gesso, Grafite and the warm caramel tone of Avana.

Renowned for importing unique natural stone of exemplar quality, the Artedomus name is synonymous with architectural surfaces, bathware, tiles and furniture. With over 30 years of experience, Artedomus is a platform of inspiration and professional advice in the architecture and design world.

artedomus.com

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S POTLIGHT

KING LIVING

ETO—Tom Fereday

With a design ethos of ‘Honest Design, true to materials and its process’ there is no mistaking the raw simplicity of Tom Fereday’s design aesthetic, where materiality is indeed at the heart of every piece of design. Establishing his practice in 2012, Fereday has quickly come to the attention of the design world with numerous awards, including

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the Good Design Award, Gold Winner for SIA Chair, 2018 and SOYA in 2009, which culminated in a mentorship with Marc Newson.

For King Living, Fereday has designed the ETO table to answer the needs of contemporary living.

This is the first desk to integrate power, wireless charging and lighting seamlessly into one sophisticated minimal design, allowing people to truly customise the table to suit their needs. Including concealed power, USB and cable management, the ETO desk attempts to clear the unnecessary clutter of objects and cables normally associated with desks – meaning that only one cord extends from the desk to the wall.

A slim integrated drawer unit offers storage for everyday desk items, such as laptops and stationery, alongside the charging table and light accessories allowing for multi-use of the table within the home environment.

Constructed from a unique extruded oval profile aluminium frame, the table

is finished with FSC rated oak, walnut and black Japan veneered table top.

“What drew King Living to Tom Fereday was his ethos of developing products on the principle of honest design, which is true to materials and its process. It was about striking the balance between a product that was sophisticated and practical, but also innovative. Its clever use of technology makes it practical within a streamlined, clean frame, which is inherently very King. We’re excited to be working with Tom and look forward to the release of the new collection,” says David Hardwick, head of product at King.

The ETO is compatible with components such as the smart table and light, and is available in two sizes in King Living’s standard timber range of Smoked Oak, Congo, Natural Oak and American Walnut.

Made to last and designed to be loved, King Living furniture has been at the vanguard of Australian furniture design since being established in 1977.

kingliving.com.au

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27/06/18 5:09 PM

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OBJECT

Object—Rosina Di Maria Principal of Woods Bagot, Adelaide, Rosina Di Maria shares her favourite five objects currently on display in her home.

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1- Kink oil bottle by Deb Jones for the JamFactory. Being of Italian heritage, olive oil is pretty special to us and so a mouth blown glass bottle made by a wonderful female designer at the JamFactory is fit to hold it! The Kink oil bottle is in my opinion a design classic of the future and proudly made only a short distance away. The bottle itself sits in our kitchen and is a joy to use. The perfect moulded grip is comfortable to hold and it has a tilted head to pour with control. Image: JamFactory. 2- Artemide Alfa table lamp. A classic object – beautifully crafted with marble, ribbed glass and perfectly spun nickel – diffusing the most perfect light to read by. We have a pair as our bedside lamps and they fill our bedroom with a warm glow, which can be adjusted with the dimmer to a full light. They are weighty and bring the joy and satisfaction of a well-crafted object. I feel as if they could be passed down generations. Image: Artemide, South Australia. 3- Bang and Olufsen Beoplay A9. I surprised my husband with the A9 for his birthday and needless to say he was blown away – by its sound and its design. The brilliant designers at B&O have delivered a bold iconic object, which gives beautiful sound and holds its own in a space. The pairing of materials such as turned walnut legs and Kvadrat dark grey fabric finished with a sliver of champagne matt metal trim is on par with how we live. Image: Bang & Olufsen. 4- Danese Milano Gran Livorno bookcase. Thin powder-coated steel offering clean lines and maximum opening to store our books. We have a whole series. We have a tall pair in our daughters’ rooms where the girls constantly change the display of their treasured items. We also have a pair in our grand old lounge room flanking our original marble fireplace. Their slim non-fussed design works well in old as well as modern spaces. Image: Artemide, South Australia. 5- Kartell Louis Ghost chair by Philippe Starck.

Our first dining chairs purchased over 15 years ago have stood the test of time and many parties! Our set of six translucent grey chairs has followed us from Adelaide to our years living in London and then back again. Two children later and these chairs remain in their original condition. They are deceptively comfortable and their ability to stack is highly practical. Image: Artemide, South Australia

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27/06/18 5:11 PM

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